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ARCH/EOLOGICAL SURVEY OF EGYPT

Edited by F. L. GRIFFITH, B.A., F.S.A.

EL BEESHEH

PART I.

(THE TOMB OP TEHUTI-HETEP)

BY

PERCY E. NEWBERRY

WITH PLAN AND MEASUREMENTS OF THE TOMB

BY

G. WILLOUGHBY FRASER, F.S.A.

WITH THIRTY-FOUR PLATES

SPECIAL PUBLICATION OF THE EGYPT EXPLORATION FUND

LONDON:

SOLD AT

The OFFICES OF THE EGYPT EXPLORATION FUND, 37, Great Russell Street, W.C.,

and 15, Blagden Street, Boston, Mass., LT.S.A. ;

and by KEGAN PAUL, TRENCH, TRUBNER & CO., Paternoster House, Charing Cross Road;

B. QUARITCH, 15, Piccadilly; A. ASHER & Co., 13, Bedford Street, Covent Garden.

/

DT
5*7

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EGYPT EXPLORATION FUND.

IprestDent.
SIR JOHN FOWLER, Bart., K.C.M.G.

Wcesffiresioents.

Sir Charles Newton, K.C.B., D.C.L.
R. Stuart Poole, Esq., LL.T). {Ron. Sec).
E. Maunde Thompson, Esq., C.B., D.C.L., LL.D.
Charles Dudley Warner, Esq.,L.H.D., LL.D.

(U.S.A.).
The Rev. W. C. Winslow, D.D., D.C.L.

(Hon. Treats, and Hon. Sec, U.S.A.).

The Hon. Edward G. Mason (U.S.A.).

The Hon. John Geo. Bourinot, D.C.L

(Canada).

Prof. G. Maspero, D.C.L. (France).
Josiah Mullens, Esq. (Australia).
M. Charles Hentsch (Switzerland).

1bon. treasurers.
H. A, Grueber, Esq., F.S.A. The Rev. W. C. Winslow, D.D., D.C.L. (Boston, U.S.A.).

Clarence H. Clark, Esq. (Penn. U.S.A.).

1foon. Secretary.
R. Stuart Poole, Esq., LL.D.

Members of
The Rt. Hon. Lord Amherst ofHackney.F.S.A.
T. H. Baylis, Esq., M.A., Q.C.
Miss Bradbury.
J. S. Cotton, Esq., M.A.
M. J. de Morgan (Birecteur General des Anti-

quites de Vfigypte).
Sir John Evans, K.C.B., D.C.L., LL.D.
W. Fowler, Esq.
Major - General Sir Francis Grenfell,

G.C.M.G., K.C.B.
F. L. Griffith, Esq., B.A., F.S.A.
T. Farmer Hall, Esq.
Pbof. T. Hayter Lewis, F.S.A.
Mrs. McClure.

Committee.

The Rev. W. MacGregor, M.A.
Prof. J. H. Middleton, M.A., Litt.D., D.C.L.
A. S. Murray, Esq., LL.D., F.S.A.
D. Parrish, Esq. (U.S.A.).
Francis Wm. Percival, Esq.
Lieut.-Col. J. C. Ross, R.E., C.M.G.
The Rev. Prof. A. H. Sayoe, M.A., LL.D.
H. Villiers Stuart, Esq.
Mrs. Tirard.

The Rev. H. G. Tomkins, M.A.
The Rt. Rev. The Lord Bishop of Truro.
Hermann Weber, Esq., M.D.
Major-General Sir Charles Wilson, K.C.B.,
K.C.M.G., F.R.S.

CONTENTS.

Peepaoe ....

I. Introduction —

1. General description of the tomb of Tehutihetep .

2. Previous work at the tomb ....

3. The nomarch Tehutihetep and his family .

II. Detailed Description op the Tomb, and Explanation

op the Scenes and Inscriptions —

1. Architectural features

2. System of decoration

3. Facade, &c.

4. Outer chamber .

Ceiling

Right and left-hand walls

Inner wall .

5. Inner chamber .

Outer wall .
Left-hand wall
Inner wall .
Right-hand wall .

6. Shrine ....

Inner wall .

Right and left-hand walls

Index

List op Plates (with references to the pages on which they
are described) .......

PAGE

vii

1-3
3-5

6-8

PLATE

9-10

IL-IV

10-11

12-13

V

13-15

> VI.-IX

13

VI

13

VII

14-15

VIIL-IX

15-38

X.-XXXI

15-16

X.-XI.

16-30

XII.-XIX.

30-32

XX.-XXIII.

32-38

XXIV.-XXXI.

39-40

XXXII.-XXXIV.

39

XXXIII.

39-40

XXXIL, XXXIV.

41

44

PEEFACE.

The Survey of the Middle Kingdom tombs in the Gebel el Bersheh was
made during the winter 1891-2. The party, consisting of Messrs. P. E.
Newberry, G. W. Fraser, and Howard Carter, arrived at El Bersheh on the
24th November, 1891, and in the middle of December was joined by
Mr. M. W. Blackden, who kindly volunteered his services in order to make
coloured copies of the wall-paintings in the tombs, and gave much assistance
in superintending the clearance of the debris, &c, which had accumulated
in them. The work of tracing in outline the wall-paintings and inscriptions
was finished on the 2nd January, 1892, when Mr. Newberry returned to
England. Mr. Carter also left to join Prof. Petrie in his work at
Tell el Amarna.

The Survey of the hill and tombs was completed by Messrs. Fraser
and Blackden in February, 1892. In May, 1893, Mr. Howard Carter again
went to El Bersheh, and stayed there till the end of June, making water-
colour drawings of the most interesting scenes and of hieroglyphic signs
in the tomb of Tehutihetep, and completing the tracings.

In all, there are ten inscribed tombs of the Middle Kingdom at
El Bersheh. Of these, the tomb of Tehutihetep (the second from the
north-west), published in the present volume, is by far the finest and
most interesting. The remaining nine inscribed tombs and a Survey of
the Gebel el Bersheh, together with the general account of the group,
will be published in El Bersheh, Part II.

The plan, elevation, and sections, and the details of the doorways and
columns, are published from drawings made on the spot by Mr. G. W. Fraser.

PREFACE.

Vlll

The coloured frontispiece is from an excellent facsimile made by Mr. Blackden.
The plates are the work of Mr. Carter and Mr. Newberry. Those numbered
v, vi„ xiv., x.vi., xxiv., xxvii.-xxxi., are wholly or in part the work of
Mr. Newberry, all the remaining plates are by Mr. Carter. Mr. Newberry
is also, of course, responsible for the copies of inscriptions.

The letter-press, as in the second volume of Beni Hasan, is the joint
production of Mr. Griffith and Mr. Newberry.

EL BEESHEH.

:p.a_:r,t i.

The Tomb op ^ _ Tehutihetep, %

v-y o D

^T- " GEEAT OhIEP OP THE HAEE NOME."

I. INTRODUCTION.

1. GENERAL DESCRIPTION OF THE
TOMB OF TEHUTI-HETEP.

Like most of the magnates who were buried
around him, Tehutihetep l ( & ^^)» tne n°ble
occupant of the second tomb, was prince of
the nome of Hermopolis. His capital was the
ancient - - $L Khemenu, now marked by the
mounds of Eshmimen,2 and it is probable that
there was his residence. The city lay in the
middle of the valley, and at some distance
from the west bank of the Nile ; the nearest
point of the hills is about five miles due east,
near the site of the Roman city of Antinoe,
but for some reason the princes of the Middle

In the Early and Middle Kingdoms the name of Thoth

was written

\\

Zehuti, the

"1

* changing first to

<-=-a d, and then to a t in the course of time. Tehnti being
more familiar than Zehuti, we think it will be convenient
to use the later form Tehutihetep in the place of Zehuti-
hetep, although the latter would be more strictly consistent
with our system of transliteration.

2 See map of the neighbourhood of El Bersheh, El Bersheh,
Part II, fig. 1.

Kingdom, in choosing a site for their necropolis,
went further south, and selected the north side of
a rocky valley in the hills behind the modern Der
en Nakhleh, " the convent of the date-palm."
The group of tombs is known to Egyptologists
by the name of El Bersheh, the hills being
called Gebel el Bersheh by the natives ; El
Bersheh is also the name of a village and of a
der, or monastery, near by. That part of the
Gebel or hill of El Bersheh in which the tombs
of the Middle Kingdom nomarchs are situated
is about five miles south of Antinoe, and seven
miles from Eshmimen in a direct line across
the Nile.

The tomb of Tehutihetep is the most con-
spicuous of all that exist at El Bersheh, and
was probably the finest tomb ever excavated
there. Unfortunately, it has been much
shattered by an earthquake, which apparently
took place many centuries ago, causing the
limestone strata to slip irregularly one over
another along their south-west dip, so that
the roof of the tomb has been projected for-
ward about a foot, and the ceiling of the
outer chamber has entirely collapsed, bringing

EL BERSHEH.

down with it the architrave and columns of
the portico. To reach the tomb from the
river it is best to land opposite Raramun and
walk across the cultivated land, through the
Coptic village of Der en Nakhleh, to the edge
of the desert. A Coptic cemetery lies at the
foot of the hills. Up the slope, due east of
Der en Nakhleh, can be discerned a road or
dromos, marked out on either side by large
boulders. It ascends the hill to the summit,
and near the top passes the terrace, on to
which all the larger tombs of the Middle
Kingdom open.

The tomb described in the present volume
is the second inscribed one on the south side
of the great roadway, and is marked No. 2 on
the Survey to be published in El Bersheh,
Part II., PL 3. It consists of a portico, a
main chamber, and a shrine, and like all the
other tombs in the group it is excavated in the

hill-side.

The facade, before its collapse, must have
presented an imposing architectural front. It
consisted of two noble columns with palm-leaf
capitals supporting a massive architrave, all
coloured pink and marbled with pale-green to
represent rose-granite ; at the sides were seen
the names of the kings under whom Tehuti-
hetep, the owner of the tomb, had served. The
space behind the columns was so large that
we have called it an outer chamber. The walls
were sculptured with scenes of hunting large
game with nets, of fowling with the throw-stick,
and of fishing with spear or harpoon. The
left-hand wall (now wholly destroyed) was pro-
bably devoted to military and wrestling scenes,
such as we see so often in the tombs of the
same period at Beni Hasan. The ceiling was
painted blue and studded with yellow quatre-
foils ; the design evidently represents a starred
canopy supported by a transverse rafter, the
latter being also imitated in the painting.

A narrow doorway, the jambs of which
were inscribed, led from this chamber into

another rectangular hall-the main or inner
chamber— measuring about twenty-five feet
from front to back, by twenty feet in breadth,
and thirteen feet six inches in height. The
walls of this chamber were also covered with
sculpture and painting above a plain black
dado. On the front wall at either side of the
door we have curious scenes of purification.
On the upper part of the left-hand wall is the
celebrated painting of the "Colossus on a
sledge," a huge alabaster statue of Tehutihetep
being dragged by nearly two hundred men ; on
the lower part of the same wall are scenes of
boats on the Nile, and cattle, the whole referring
to a great stock-taking, to which the herdsmen
of the nome brought in their annual tribute of
cattle. On the inner wall we see Tehutihetep
netting wild fowl with his wife and son,
watching fishermen hauling a net to shore, and
receiving birds, fish, &c, from his estate. The
greater part of the right-hand wall fell with the
earthquake, and was smashed into fragments ;
from the portion still in place and the fragments
recovered from the debris, we gather that the
scenes depicted the owner's household and the
occupations of his farm servants, gardeners,
&c. The ceiling of this chamber is decorated
like that of the portico, but with the support-
ing beam represented as placed longitudi-
nally, and in the centre is a rectangular
space of a different pattern, crossed by the
beam and bordered by a black line. This
space is filled with a black and yellow check
pattern.

At the inner end three low steps lead into a
small shrine about four feet broad by eight
feet deep and eight feet high. It is remarkable
that it contained no statues like those at Beni
Hasan and elsewhere. On each of the side
walls is painted a scene of offerings, sur-
mounted by the Tchelcer ornament. Instead of
statues there are two figures in low relief on
the inner wall, of equal height, and facing
one another, representing Tehutihetep and his

PREVIOUS WORK AT THE TOMB.

father Kay.1 Tehutihetep generally calls him-
self " son of Kay " in his inscriptions, but
none of the scenes in the larger chambers of
the tomb refer to Kay.

The age of the tomb is clearly indicated by
the cartouches engraved on the outer corners of
the facade, according to which Tehutihetep lived
in the reigns of Amenemhat II., Usertsen II.,
and Usertsen III., so that it was probably in
the long reign of the last-named king that this
tomb was completed and the nomarch died.

It is interesting to find amongst the sculptures
the names of the principal workmen employed
upon the excavation and adornment of this
masterpiece of Middle Kingdom workmanship.

The " director of the work " was a J jg j

^, □ © " Ab-Kau's son Sep," and the artist
employed to decorate it (j c~~i (j ■£ ATVX %\
"Amena-ankhu." These men's handiwork was
well worthy to carry down their fame to
posterity.

2. PREVIOUS WORK AT THE TOMB.

The group of tombs at El Bersheh was
quite unknown to the members of the great
French expedition under Napoleon, as well as
to their predecessors. Its discovery, how-
ever, dates back to 1817, and we owe the first
account of it to two naval officers, Captain
Mangles and Lieutenant Irby.2 These two
travellers, after a voyage up the Nile to the
first cataract, joined an expedition consisting
of Messrs. Bankes, Beechey, and Belzoni, who
were about to proceed into Nubia in order to
effect an entrance through the sand-drifts into
the great temple at Abu Simbel. At that date
travellers in Nubia were beset with many

1 Pronounced Ka-y.

2 Travels in Egypt, Nubia, Syria and Asia Minor during
the years 1817-1818, by the Hon. C. L. Irby and S. Mangles,
London, 1823.

difficulties, owing to the mutual jealousies of
the local governors and the disorganized state
of the country. Labourers could hardly be
obtained, and it was chiefly by their own
exertions that these travellers, half-starved as
they were by the refusal of the people to supply
them with food, at length excavated the door-
way of the great temple ; and for the first time
for many centuries man set foot within its
brilliantly decorated halls. Those who had
hoped to find portable treasures within were
doubtless disappointed, but our travellers
sought adventure and discovery. On their
homeward voyage they broke their journey at
several points where they heard of the exis-
tence of important remains. At El Kab they
admired the tomb of Paheri.3 On the 26th
of August, 1817, they reached Raramun, and
guided presumably by Mr. Brine, the English
founder of the sugar factory there, they dis-
covered the tomb of Tehutihetep, and were
much struck by the interesting character of
its paintings.4 Messrs. Bankes and Beechey
revisited it at an early opportunity and made
drawings, which probably exist to this day,
but have not yet been traced to their present
owners. A copy of Mr. Bankes' outline of the
colossus has, however, been seen by us amongst

3 Published in the Xlth Memoir of the Egypt Exploration
Fund.

4 " Before we leave Egypt I should inform you that we
discovered an interesting tomb opposite Mr. Brine's, at
Kadimore [Karamun]. The sides were covered with paint-
ings, among which are two groups, of a description very
rarely, if ever, to be met with ; one of them represents the
removal of a colossus between thirty and forty feet high,
and seated on a chair ; upwards of a hundred labourers
are employed. The other drawing represents an Egyptian
garden, with exotics in flower-pots, arranged on a terrace,
near which is an arbour, bee-hives, &c. Mr. Bankes and
Mr. Beechey are the only travellers who have visited this
tomb since we discovered it : the former has accurate draw-
ings of all its contents." — Irby and Mangles, Travels,
London, 1821, p. 165. The reference to bee-hives is due
to some misconception, as there is no sign of such amongst
the paintings here or in any other tomb at present known
in Egypt.

B 2

EL BEESHBH.

Sir Gardner Wilkinson's papers.1 From this it
would appear that not much attention was
paid to detail, so that the drawings would not
be of much importance for scenes of which
other records exist.

Many of the great groups of tombs in Egypt
are situated in conspicuous places. That of
El Bersheh is not so easy to find ; hence it is
seldom mentioned in books of travel and
antiquarian research. Neither Caillaud, nor
Wilkinson in his early publications, nor Burton,
nor Champollion, has left any independent
record of it. Rosellini, however, the head
of the Tuscan expedition and a companion of
Champollion in most of his journey, published
the scene of the colossus on a sledge in 1832,2
from a drawing by Dr. Eicci, one of his col-
leagues; but it is certain that Champollion
never saw it.

In 1833 Bono mi and Arundale were sent by
Robert Hay of Linplum, then living in Egypt,
to make a plan and drawings of the tomb of
the colossus, and the following unpublished
letter from Bonomi to Hay, referring to this
visit, is preserved amongst the Hay manuscripts
in the British Museum.3

" Raramoun, July 2St/i, 1833.
"My dear Sir,

" We arrived here on the morning of the 26th,
and after visiting Sig. Antonini,4 went in search of the
tomb, which we easily found, but in a very different
state to what it was when I saw it before,5 holes having
been picked in the walls, and a considerable part of the
rest nearly obliterated by the rain getting in ; however,
by dint of scraping and sponging we have succeeded in

getting the principal part of the subject of greatest

interest Mr. Arundale has made a plan and

sections, in which will be seen the situation of the

subjects.

" Yours, etc.,

" J. Bonomi."
The drawings mentioned in this letter are
still preserved.6 They comprise a plan and a
longitudinal section of the tomb by Arundale,7
the latter showing the disposition of the
scenes ; pencil drawings to a very small scale
of the inner walls of both the inner and outer
chambers;8 a copy of the inscription behind
the colossus scene;9 the colossus itself, partly
in colour;10 and the doorway of the building
towards which the statue was being dragged.11
Five years later, in December, 1838, Nestor
de l'Hote gave, in one of his letters,12 a brief
description of the tomb, and probably copied
several of the scenes, but unfortunately the
greater part of his drawings and squeezes were
lost at sea. In 1841, however, he again visited
Egypt and the tombs at El Bersheh. He then
made a number of useful notes upon this tomb,
which are preserved among his manuscripts in
the Bibliotheque Nationale in Paris.13

1 Apparently a lithograph of this drawing was circulated
by Mr. Bankes ; it was utilised by Sir Gardner Wilkinson
in his Manners and Customs of the Ancient Egyptians, 1837,
p. 328, as well as in the later edition, and in the com-
mentary to Rawlinson's translation of Herodotus.

2 Rosellini, I Monumenti delV Egitto e delta Nubia, Mon.
Civili, torn, ii., tav. xlviii. 1 ; text, torn, ii., p. 246.

3 Add. MS. 29,859, fol. 30.

4 The successor of Mr. Brine, who is referred to above,

p. 3.

5 Bonomi had lived in Egypt since 1824.

6 Add. MS. 29,814. ' Ibid., fol. 3 and 4 ; our pi. ii.

8 Ibid., fol. 5 ; our pis. viii., ix., and xx.

9 Ibid., fol. 7 ; our pi. xiv. l0 Ibid., fol. 8 ; our pi. xv.

11 Ibid., fol. 6 ; our pi. xvi.

12 Lettres ecrites de I'Egypfe, p. 46-50. On p. 47 is an
extract from the inscription with titles of Tehutihetep from
the thickness of the wall printed on p. 15 of our memoir,
and the names of his sons, Usertsen-ankh and Nehera, from
the since-destroyed upper left-hand corner, in our pi. x. ;
and on p. 48 Tehutihetep fowling with the throw-stick,
accompanied by his three sons (our pi. viii.). The legends
accompanying the sons in this scene have also recently been
cut away, no doubt in order to obtain the cartouche.

13 Papiers de Nestor de VHdte, tomes iii. and xi. (copied
by the editor in 1888).

Vol. iii., fols. 246-267, gives a brief but orderly descrip-
tion of the tomb, with slight extracts from the subjects.
Fols. 246-7, the shrine, especially the inscriptions on the
back wall (our pi. xxxiii.). In the succeeding folios are
notes of the main chamber, including on fol. 250 the
inscription on the ceiling (our pi. vi.). Fol. 248, the
right-hand side of the inner wall (our pi. xx.). Fol. 249,
inscriptions on the right-hand jamb of the portico (oar

PREVIOUS WORK AT THE TOMB.

In 1837 Wilkinson published a drawing of
the colossus on a sledge in his Manners and
Customs of the Ancient Egyptians,1 the source
of which was Mr. Bankes' lithograph. He had
searched for the tomb, but had failed to find
it,2 and it was not until 1841 that he arrived
at the spot. Some valuable sketches made on
this occasion are preserved among his papers
at Oalke Abbey, Derbyshire, and copies of
them were made last year for our use.3

The Prussian expedition under Lepsius
visited the tomb in July, 1843,4 and several
subjects were selected for copying, including,
of course, the colossus on a sledge.5

pi. v.). Fol. 253, inscriptions on the doorway to the
temple (our pi. xvi.). Fol. 254, the long inscription behind
the colossus (our pi. xiv.), together with part of the large
figure of Tehutihetep following, and the remains of the line
of inscription containing his titles (see p. 17). Fol. 255,
the scene of purification, with the inscriptions (our pi. x.).
Fols. 264-267, description of the tomb, with notes of the
inscriptions, including a slight sketch to show the restora-
tion of the plan : strange to say, although he states that
no trace remains of the columns, he recognizes that they
must have existed : the inscription on the thickness of the
wall (see p. 15), and the names of the sons from the scene
of spearing fish (our pi. ix.), now partly destroyed, are also
given.

Vol. xi., p. 25, scene of the colossus, with inscriptions.

1 Vol. iii., p. 328 ; a second edition in 1847.

2 Modem Egypt and Thebes, vol. ii., pp. 64, 65.

3 These drawings of Wilkinson are bound up with other
large ones, chiefly of a very early date, but with some later ones
inserted, and the volume is labelled " Egyptian Sculpture."
Between fols. 2 and 3 are a number of added leaves, the
first (a) with the scene of dragging the colossus (coloured),
and some of the inscriptions on the back. On the second
leaf (b) is a coloured copy of the portion of the right-hand
wall still standing, including the gardening scene, &c, in
our pis. xxv.-xxvi., but without the top row. On the third
leaf (c) are some fragments of inscriptions from the same
tomb, and on the fourth (d) the inscriptions of the colossus
scene (our pi. xv.).

4 Lepsius' Letters from Egypt, No. 15.

5 Published in the Denkmdler, Abth. ii., Bl. 134, 135. Bl.
134, drawn by E. Weidenbach. (a) Scene of the colossus
on a sledge, without the short inscriptions, but with the
long inscription behind it. (b) Tehutihetep seated in the
seh, our pi. xix. (c) The inscriptions on the back wall of
the shrine, our pi. xxxiii. (d) The large standing figure of
Tehutihetep, in our pi. xx. ; and (e) Another of the same

Since Sir Gardner Wilkinson's visit in 1850
hardly anything appears to have been done
in the way of preserving the inscriptions.6

There is, however, one exception. Major
Brown, of the Egyptian Irrigation Department,
took a photograph of the scene of the colossus
on a sledge in 1889. Of this one print was
taken, which Major Brown kindly gave us, but
the negative itself is lost.7

Then came the destroyer. The year after
Major Brown took his photograph, the im-
portant inscription behind the colossus was
cut away, and many other parts of the tomb
were wantonly injured. Thus the scenes
which decorated its walls for so many cen-
turies, and withstood the shock of the earth-
quake, had just undergone the most grievous
mutilation, when, in November 1891, our survey
party reached Bl Bersheh. The expedition
sent hither to rescue some of the most important
records of ancient Egypt from oblivion was
just too late to effect much of what was pur-
posed, yet not too late to save a great deal
that was valuable from its impending fate.

Fortunately, the copies of Lepsius, Hay,
Nestor de l'Hote, and Wilkinson, enable us
to restore much of what has been recently
destroyed, and the present volume will show
that a goodly harvest has been gathered from
this tomb.

from the hunting scene, our pi. vii. b, d, and e were selected
no doubt to illustrate the costume.

Bl. 135, drawn by'Eirund. (a, b, c, d) Inscription on the
"gateway" on the west wall, our pi. xvi. (e) Part of the
title of Kay from the right-hand wall of the shrine, our
pi. xxxiv. (/) The inscription belonging to the figure of
Nub-unut from the back wall of the inner chamber, our
pi. xx. (g) The inscription with royal names, from the right-
hand jamb of the portico, our pi. v.

6 We are pleased to hear from Dr. Spiegelberg that some
copies probably exist at Strassburg among the papers of the
indefatigable Professor Diimichen, whose recent loss we so
much deplore.

1 The print has been re-photographed, in order to preserve
the record, and copies can be obtained on application to the
Secretary, Egypt Exploration Fund.

EL BERSHEH.

3. THE NOMARCH TEHUTIHBTEP
AND HIS FAMILY.

As is so often the case with Egyptian tombs,
the inscriptions in that of Tehutihetep throw
but little light upon the owner's life and descent.
Regarding the earlier history of his family, a
good deal of information can be gleaned from
inscriptions in other tombs at El Bersheh,1 and
from the valuable collection of hieratic records
recently copied in the quarries of Het-nub and
published by Messrs. Blackden and Fraser;2
but, as Tehutihetep himself is not referred to in
any of them, it will be best to defer the con-
sideration of this part of the subject until the
inscriptions of the other tombs are published.
For the present therefore we shall confine
ourselves to those facts regarding Tehutihetep
and his parentage and family that are recorded
in the inscriptions of his own tomb.

On the jambs of the facade were four in-
scriptions, which were intended to give in a
very succinct form the main landmarks in
Tehutihetep's life ; unfortunately, they are
badly mutilated. The first tells that the
prince Tehutihetep had been "a child of the
king," under Amenemhat II. At Beni Hasan,
likewise, Khnemhetep had been " a child of the
king, of his briuging up,"3 and this shows what
the meaning of the phrase is here, namely, that
Tehutihetep had been educated in the palace
with the royal children of Amenemhat II. Next,
two of the inscriptions refer to Usertsen II.,
who reigned nineteen years. In one we find
that Tehutihetep held the high position of
" sole royal friend " under this king ; on the
other only the royal name is recognisable, but
the inscription must have recorded some ad-
vancement. It is impossible to decide which of
these two inscriptions took the second or the

1 To be published in El Bersheh, Part II.

2 Collection of Hieratic Graffiti from the Alabaster Quarry
of Hat-Nub (London, Luzac).

3 Compare Beni Hasan, Part I, pi. xxxii., and Part II.,
p. 10.

third place in point of time. Lastly, the fourth
inscription names Usertsen III.; but the indica-
tion of Tehutihetep's rank at this time is again
destroyed. "We may fairly believe that it was
in the course of this long reign of over thirty
years that Tehutihetep died and was buried,
having seen the rule of three kings; but he
may have survived into the reign of Amenem-
hat III.4

This is all that we possess of the chronology
of Tehutihetep's life. His titles are very fully
recorded elsewhere in the tomb. Most of them
are to be found on pi. xvi. The civil ones
are: —

1. Er-pd, " .EVya-prince."

2. Ha, " ffa-prince."

3. Sahu bdti, "Treasurer of the King of Lower
Egypt."

4. Semer udti, " Confidential friend of the King."

5. Bekh seten, " Royal acquaintance."

6. her tep da en Unt, " Great Chief of the Hare
nome."

7. a set neb, " Gate of every foreign country."

8. Sab-ad-mer Bep , " of Buto."

9. her tep dat Mentet, " Chief of high offices."

10. her tep NeMeb, " Chief of the city of Nekheb."

11. dri Nekhen, " He who belongs to the city of
Nekhen."

12. khu ne dm aha, " Comptroller of what is in the
palace" (?).

The most remarkable of these are No. 6,
the title of the nomarch of the Hare nome,
and No. 7, which perhaps means that Tehuti-
hetep had the right to give passports over all
the frontiers of Egypt. Those numbered 1-5
and 8-11 were commonly held by the great
men of the period.

The religious titles were very numerous;
they are : —

1. mer henu neter, " Superintendent of the priests."

2. JJr dua em per Zehuti, " Great of five in the
temple of Tehuti." (With variant hut for per on p. 16.)

4 The united reigns of Amenemhat II., Usertesen II., and
Usertesen III., would amount to about seventy-five years,
allowing for co-regency.

THE NOMAECH TEHUTIHETEP AND HIS FAMILY.

3. Merp nesti, "Regulator of the two thrones.".

4. her [se]-sheta ne reu pern, " Set over the mysteries
of the temples."

5. her [se~\sheta ne neter em est zesert, " Set over
the mysteries of the god in sacred places."

6. her se-sheta ne medu neter, "Set over the mysteries
of the divine formulse."

7. her se-sheta ne Met neter, "Set over the mysteries
of the divine secrets."

8. Merp hetep neter, " Manager of the divine offerings."

9. Mer heb her tep, " Chief lector."

10. sem Merp shenzet nebt, " $em-master of all the
tunics."

11. SeMem neteru, "Who influences the gods."

12. Merp hut net Net, "Regulator of the temples of
Net." "

13. hen neter Maat, " Priest of Maat."

By far the most interesting of these are the
two numbered 2 and 3, which are the titles of
the high priest of Thoth at Hermopolis.1 Some
of those numbered 4-7 are not uncommon ; but
as held by the high priest of Thoth, the god
of wisdom, the scribe and recorder of the gods,
they have a special significance. The rest of
the titles are such as were often borne by the
heads of great families.

Of the events of Tehutihetep's life, or of
his personal character, we know scarcely any-
thing. The scenes in the tomb are mostly of
the ordinary type of the period. All the
nomarchs were devoted to hunting, fishing,
and fowling, and took delight in the excellence
of their gardens and farm-yards. The quality
of the sculpture and the loving detail in the
gardening and other scenes indicate, perhaps,
some special characteristics of Tehutihetep,
and the great scene of the conveyance of the
colossus is probably a record of an act un-
rivalled by any of his contemporaries.

As to Tehutihetep's family, his paternal
grandfather ® l] Nehera is named once/

1 Compare Brugsch's Diet. Geogr., 1361.

2 Vide pi. xxxiv., and cf. p. 39.

and the inscriptions on the inner wall of the
shrine, in recording that Tehutihetep succeeded
to the princedom held by his paternal grand-
father, imply that he was Great Chief of the
Hare nome. We shall have more to say
about Nehera in the second part of this
memoir.

The names of \J I (jA Kay,3 Tehutihetep's
father, and ^^° ^ U* Sat-kheper-ka, his
mother, are several times found in the inscrip-
tions, but only the chief titles of the former
are recorded. He was " /^-prince of the city
of the pyramid called Jcha of Usertsen,"5 and a

3 Vide pis. vi., x., xvi., &c.

4 Vide pis. v., vi., &c. The name is also written

^JSU pis. vi., viii., &c

5 As there were three Usertsens in this dynasty, and as the
names of their respective pyramids, with one exception, are
either uncertain or unknown, it is necessary to consider to
which of them this pyramid kha belonged. It has hitherto
been attributed to Usertsen II., apparently on the sole
ground that, while it occurred in the tomb of Tehutihetep,
his was the latest cartouche known from thence. But our
clearance of the facade revealed the name of his successor,
Usertsen III. ; so that the argument as it stood can no
longer be sustained. Yet it is not very likely that the
pyramid was that of Usertsen III., since the father of
Tehutihetep, if he yet lived, probably reached a patriarchal
age early in the reign of that king.

The only other evidence with regard to the names of the
pyramids referred to comes from Prof. Flinders Petrie's
discoveries at Kahun. It will be recollected that the town
of Kahun was built in connection with the pyramid of
Usertsen II., commonly known as the Illahun pyramid, and
that on its site were found numerous papyri and seals from
other documents now destroyed. Several of the seals name
princes of the city of the pyramid called Hetep- Usertsen
(vide Prof. Petrie's Kahun, Hawara, and Gurob, pi. x.,
Nbs. 21-24). The same locality is also frequently named
in the papyri, and it cannot be questioned that this was the
name of the pyramid city of Usertsen II. Can, then, the
pyramid of Usertsen II. have had two names, hetep and
khal In one or two papyri from Kahun the hetep of
Usertsen and the kha of Usertsen are mentioned together ;
it is thus just possible that they are the names of two
localities connected with the same pyramid.

Lastly, we know nothing about the name of the pyramid
of Usertsen I.

The identification of the £7ia-pyramid is therefore a
matter of extreme uncertainty.

EL BBKSHEH.

"superintendent of the priests."1 So far as
we can tell, bis exalted office took him away
from the Hare nome, so that he did not hold
the princedom which his father Nehera had
held. We may suppose, also, that his tomb was
not at El Bersheh, but perhaps at the royal
city of Memphis; and it is probable that for
this reason Tehutihetep commemorated him,
together with himself, in the shrine of his own
tomb as with a cenotaph. Of the titles and
parentage of Sat-kheper-ka nothing is known,
the inscription (over her portrait on the right-
hand wall),2 which may have recorded them,
being lost.

The name of Tehutihetep' s wife
Hathor-hetep occurs three times,
parentage is not given. She was a hen-neter
Eether, " priestess of Hathor," and a nebt per,
"lady of the house." Next to her, in the
scene representing the female relatives of
Tehutihetep on the right-hand wall, are two
smaller figures of women, who may have been

Nehera =

(Great Chief of the Hare nome)

but

^ D
her

his concubines, the title "p ^ ^ anMeL which
is preserved with one of them, being of un-
certain meaning.3

His children were eight in number — three
sons and five daughters. Of the sons
^ % lbs. S ^*L&- Shemsu-em-khau-ef was
the eldest; his portrait is given several times
in the wall-paintings. The two younger ones
were named (1 P T H] "f IT Usertsen-ankh
and ~<r 0 Nehera. Of the five daughters
the names of the three eldest only are pre-
served. These were (^ ^ ? Nub-unut,
* D U Sat-kheper-ka, and n^J^ |

^ D

Sat-hez-hetep. Mutilated portraits of the two
youngest, and apparently portraits of two
sisters of Tehutihetep, are found among those
of his female relatives on the right-hand wall
of the inner chamber.

The relationships recorded above may be
tabulated thus : —

Kay =

(/fa-prince of the Ma-pyramid
city of Usertsen)

Sat-kheper-ka *

The ankhet (concubine ?)

Tehuti-hetep* = Tehutihetep

(Great Chief of the Hare nome)

= Hathorhetep *

Two sisters

Shemsu-eLkhau-ef Usertsen-ankh Nehera Nub-unut* Sat-kheper-ka* Sat-hez-hetep* Two other daughters

1 Vide pi. xxxiv.

3 A slight correction of the original into -^

" female citizen " (?) or perhaps " courtesan,"

2 Vide pi. xxviii., and cf. p. 36.
would produce the known female title ankh-en-net, meaning
* Female.

II. DETAILED DESCRIPTION OF THE TOMB,

AND

EXPLANATION OE THE SCENES AND INSCRIPTIONS.

1. ARCHITECTURAL FEATURES.

See Plates II.-IV.

In spite of the injury done by the earthquake,
which completely ruined the front part of the
tomb, its original plan can be restored with
certainty. It was as follows :—

(1) A deep portico, supported by two

columns, with palm-leaf capitals.

(2) A rectangular main chamber.

(3) A small shrine beyond.

(4) A shaft or gallery for the mummy,

driven horizontally below the chambers.

1. The cliff has been trimmed back only a
few feet for the facade. The excavation for the
portico was broad and high (nearly 23 feet by
15 feet), leaving only a very narrow band of
faced rock, about 9 inches at the top and about
2 feet at the sides.

The depth of the portico from front to
back was 14 feet. A massive architrave of
square section crossed the roof at about
2 feet from the front, and was supported by
two columns of circular section with broad
circular bases and palm -leaf capitals (for
details see pi. iv.). In these columns the shaft
tapers upwards ; at the base it is 26 inches in
diameter, at the top 21^ inches. The leaves
forming the capital spring from four annulets ;
these probably represent a cord which bound
the leaves together, but the ends of the ties in
this instance are not shown, so that they can
only be described as annulets. The columns

were surmounted by shallow square abaci,
upon which the architrave rested. The base is
4 feet 8£ inches in diameter at the bottom, and
6 inches high ; its sides slope and the top
edge is rounded.

The depth of the portico behind the abacus
is nearly 10 feet, and we have called this space
" the Outer Chamber " in the plates and in the
detailed description of the scenes. The ceiling
is flat. In the centre of the back wall is a
doorway 10£ feet high by 4 feet wide, the
threshold of which is raised about 6 inches.
The architrave of the door projects about an
inch. The entrance was closed by a door
pivoted on the right side. The thickness of
the wall is nearly 5 feet.

2. The main chamber, or as we have called
it in the plates, &c, " the Inner Chamber," was
rectangular, measuring 20 feet broad by nearly
26 feet deep and 13 feet high, with flat

ceiling.

3. At the middle of the back wall a flight of
three low steps leads into a shrine, which was
closed by double doors, the pivot holes for
which remain at each side. The shrine itself
is slightly narrower than this doorway, and
hardly exceeds 4 feet in width. Its depth and
height alike are 8 J feet.

4. In front of the left-hand jamb of the
portico is a rectangular pit, 11 feet by 6 feet in
length and breadth. It descends vertically 9
feet. From its northern side runs a horizontal
gallery, 1\ feet high and 5£ feet broad, beneath
the left-hand wall of the tomb ; where a part of

10

EL BER6HEH.

its breadth lay directly beneath the floor of the
chamber, the latter was only a little over 3 feet
thick. The gallery terminated at 55 feet, and
was consequently driven in slightly beyond the
shrine. The latter, being of small dimensions,
left the tomb constructor ample space, as soon
as the gallery had been carried beyond the end
of the main chamber, to make an extension or
niche on the east side of the gallery in the
direction of the shrine, perhaps for the recep-
tion of the coffin or its furniture. The depth
of the niche was 2^ feet, and its height was
not more than half that of the gallery itself.
In the middle of the gallery at this spot was a
small square excavation in the floor, which
perhaps was intended to receive part of the
funeral outfit.

Present Condition.
The principal injuries to the architectural
features of the tomb are due to the earth-
quake, which drove the upper strata in the
tomb south-westward ; the columns were dis-
placed, and the whole mass of rock over the
portico, including its painted ceiling, has fallen
down in a confused heap. The right-hand
wall is fairly perfect, excepting at the top,
where the movement of the strata has shat-
tered it.

The left-hand wall has been almost quarried

away. It seems probable that this had been

done before the earthquake took place, as the

quarrymen did not remove any part of the

fallen rock. The mass of rock forming the

back wall of the portico and front wall of the

main chamber has been cracked in several

places, and driven outwards. The side walls

have also been cracked, and great masses

have detached themselves from the right-hand

wall, and lie in confusion on the floor, while

here also the tops of the walls have been

shattered. The shrine is practically uninjured

as far as architectural features are concerned.

The clever concealment of the mummy-pit

must have exercised many would-be violators of
the tomb. On the arrival of the expedition it
was found that in the main chamber pits had
been dug in four places through the debris
and into the solid rock; probably some of
these pits date from very ancient times. One
great hole in the axis of the chamber had
been extended right and left until it touched
the lower gallery ; probably the tomb chamber
was robbed through this forced entrance. It
was utilised by the expedition in clearing the
mummy-pit, working from it first to the inner
end and then outwards to the ancient entrance,
which had probably been hidden for many
centuries.

The greater part of the debris in the tomb
was successfully cleared, and its nature ascer-
tained; the rubbish was thrown outside, and
the sculptured and painted fragments sorted.
Only a few large blocks had to be examined
without being raised or moved. Of the columns,
the bases were found in situ ; portions of the
capitals still clung to the fallen and ruined
architrave, and the shafts lay shattered amongst
the debris.

2. SYSTEM OF DECORATION.

The decoration of the tomb is as usual con-
fined to the upper chambers, and consists of
(1) painting applied to the limestone, the
surface of which had been finely prepared for
its reception with a very thin coating or wash
of stucco, and (2) sculpture in very low relief ;
but in some cases the two methods were
combined.

The jambs and lintel of the facade and the
columns and architrave of the portico were
painted pink (see pi. iv.) and marbled with
pale green in order to resemble rose granite.
The hieroglyphic inscriptions upon the jambs
and architrave were incised and painted green
(see pi. iv.).

SYSTEM OF DECORATION.

11

Fig. 1.

The ceiling of the portico was richly painted
up to the edges with
yellow quatrefoils upon a
blue ground (see fig. 1),
and across the centre
of it ran transversely a
yellow band, in which
the hieroglyphs given in
pi. vi. were incised and coloured blue.

The hheker frieze of the outer chamber is
almost entirely destroyed. It was painted only.
The scenes below were sculptured in very low
relief, and probably were painted, though no
trace of colouring can now be distinguished.
The hieroglyphs around the doorway were
incised. The inner surfaces of the jambs of
the doorway to the main chamber were pro-
bably coloured pink, like the architrave and
columns. The large hieroglyphs incised upon
them were painted green. The whole of the
thickness of the wall from the inside of the
jamb to the surface of the outer wall of the
main chamber was decorated with horizontal
bands of blue, red, yellow, and green, about
3 inches wide, separated from each other by
black lines, each \ inch wide.

The ceiling of the inner chamber was deco-
rated similarly to that of the portico, except
that the narrow yellow band was painted longi-
tudinally down the centre of the ceiling. The
hieroglyphs upon this band were painted blue
(see pi. vi.). In the centre of the ceiling there
is a rectangular space of a different pattern,
crossed by the beam and bordered by a black
line. This space is filled with a black and
yellow check pattern (see diagram of ceiling,
fig. 2).

YELLOW Ql/ATPEFOILS UPON *

BLUE GROUND

SMALL BLACK

ANO
YELLOW SQUARES

BL,UE HIEROCLVPI-

SMALL BLACK
AND

YELLOW SQUARES

YELLOW QUAT

RETAILS UPON /

i BLUC GROUND

Fig. 2.

Fig. 3.

BLACK

Fig. 4

The frieze consisted of the usual Jcheker
ornament painted red, blue and green (see
fig. 3). Beneath this and at the
sides of the walls is a border of
coloured rectangles (yellow, blue,
red and green), separated by black
lines enclosing a white line. Be-
yond this is the peculiar roped pattern so
common in old Egyptian tombs.

The dado is painted black, and is
bordered above by narrow bands of
red and yellow (see fig. 4). At the
right-hand end of the dado of the
left-hand wall was a false door, now
much mutilated.

The inner surfaces of the jambs of
the doorway to the shrine are painted,
like the jambs of the outer doorway, with
horizontal bands of colour. The bands here
are blue and yellow, separated by black lines.

The ceiling is coloured blue and covered
with yellow quatrefoils as in the other
chambers, but here the quatrefoils are much
smaller (see fig. 2); they measure 2\ inches
across. Longitudinally down the middle of the
ceiling is painted a narrow yellow band, upon
which are hieroglyphs (see pi. vi.) ; they are
incised and coloured blue.

The frieze consists of small khekers, and
beneath them is the usual border of coloured
rectangles.

The dado is painted black.
The style of painting is uniform throughout
the tomb, and the paintings are everywhere
very carefully executed. The human figure (for
a specimen see frontispiece) is always conven-
tionally drawn according to the standards of
proportion in vogue at the period. The quadru-
peds are somewhat stiffly outlined ; but the birds
and fishes, especially those on the inner wall of
the main chamber, are beyond praise. The
hieroglyphs on the left-hand and inner walls of
the main chamber, and in the shrine, are very
elaborately executed, and much attention has
been paid to matters of the minutest detail.

12

EL BERSHEH.

Fig. 5.— Key Plan to Scenes and Inscriptions.

3. FAQADE, &o. Pl. V.

Jambs of the Facade (see Key Plan, a-d).

The mutilated inscriptions show curious
dovetailing of the titles of the kings under whom
Tehutihetep lived with those of Tehutihetep
himself. Wishing evidently to put the royal
titles prominently before the visitor, Tehuti-
hetep placed at the top of each column the
lea-name of the king, surmounted by the hawk
as usual, thus at once giving a decorative
appearance to the inscription. By another
device possible in hieroglyphics he contrived
to separate the cartouche from the k-name (to
which the sense of the inscription would attacli
it), so that the cartouches appeared together
near the base of the columns, forming a second
well-defined group of signs. In translating we
probably have to take the k-name and the
cartouche together in the middle of the in-
scription. On the inside of the right jamb
we propose to read : —

[Amakhy] khred seten kher Heru kehen em maat
(Neb-kau-RcT\ ha ur dua Zehutihetep

" [The devoted one,] the king's son1 under the hawk
praised (?) in truth Nub-kau-ra (Amenemhat II.),
the Zio-prince, great of five, Tehutihetep." :

1 See Beni Hasan, Part I., pl. xxxi.

* For the reading Tehutihetep, see note on p. 1 .

On the outside of the same jamb a similar
inscription records his faithful service as
semer udti, " confidential friend," to the king
Usertsen II. Tehutihetep is here called ha,
"ha-prince," and kherp nesti, "regulator of
the two thrones."

The inscriptions on the opposite jambs
follow the same formula?. The royal names
of Usertsen II. on the inside and of Usertsen
III. on the outside can still be recognised, but
the central portions referring to the status of
Tehutihetep in these reigns are completely

destroyed.

These are the only cartouches that have
been found in the tomb, and it is very for-
tunate that they should have been preserved
at all in such an exposed situation. The
fragments of the left-hand jamb, all of which
were found by excavation, show that the hiero-
glyphs here were incised and coloured green
on a pink ground marbled with pale green
to represent granite.

Architrave (see Key Plan, e, f).

The architrave is inscribed on the front
and back, but not below ; the colouring is the
same as that of the jambs (see pl. iv.). In
the middle of both the front and back is the
central word <5=> er-pd, from which two almost

SCENES, &c, OUTER CHAMBER.

13

identical inscriptions rim to right and left. On

the front is : —

Er-pa ha ur dua Zehutihetep mes en Sat-kheper-ka
" The hereditary prince, the /ia-prince, great of five,
Tehutihetep, born of Sat-kheper-ka."

On the back is the same legend, with the
variation of ft § Merp nesti, " regulator of the
two thrones," for ^ E ur dua.

It will be observed that the double title (ur
dua, kherp nesti) of the high priest of Thoth is
divided, and that the two elements alternate in
these inscriptions. The " short" titles of nome
princes usually combine the civil and the re-
ligious, very often in the simple form ha, mer
henu ncter, "/ia-prince and superintendent of
the priests."

4. OUTER CHAMBER. Pls. VI.-IX.

Ceiling Inscription, pi. vi. (see Key Plan, a).

The transverse inscriptions on the ceiling of
the outer chamber are similarly arranged. The
hieroglyphs are incised and painted blue on a
yellow ground. The right half of the inscrip-
tion names Tehutihetep's father Kay ; the left,
his mother Sat-kheper-ka. He is described as
her tep da en Tint, "great chief of the Hare
Nome," and her sesheta en reu-pcru-es, " chief
of the mysteries of its temples," &c.

Right-hand Wall, pi. vii. (see Key Plan g).

The hunting scene on the right-hand wall is
very remarkable. Tehutihetep, leaning on a
staff, is completely wrapped in a long blanket-
like robe, leaving only his closely shaven head,
his hands, and his sandalled feet visible. The
garment is evidently intended to protect him
against the cold breeze of the desert in the
winter. This representation is probably unique.
The inscription over him has lost four or

five signs from the top of each line. It
reads : —

(1) [maa] ah hut set dsth asha urt er Met nebt

(2) [an er-pa] ha sem kherp shenzet nebt sab ad mer
Dep

(3) [ ] her sesheta en maa ua

(4) [ur dua] em per Zehuti ur qedet em perui mater (?)

(5) [semd] nef semdu ensen kherp hetep neter

(6) [semer ua ne me]rut dri Nekhen hen neter Maat
dri (?) pe [neb]

(7) ha her tep aa en Tint Zehutihetep neb dmakh

(1) "[seeing] the netting of the gazelles1 of the
desert, behold ! abundant were they more than
anything,

(2) [by the erpa-prince], the foa-prince, the sem-
master of all the tunics, the sab-ad-mer of the city
of Dep (Buto in the Delta),

(3) [ ] chief of the mysteries of seeing alone,

(4) [great of five] in the house of Tehuti in the

two houses

(5) one who received reports from those who received
reports,2 manager of the divine offerings,

(6) [confidential friend] of the (king's) choice, he
who belongs to the city of Nekhen, priest of Maat
(goddess of truth)

(7) the /^-prince, great chief of the Hare Nome,
Tehutihetep, possessing the reward of worth."

In front of Tehutihetep we see two parallel
lines of netting (placed upright on the wall),
one end being closed by poles, and a cord or
scare put in place by the huntsmen ; the other
end at the top of the wall is destroyed. The
enclosed space is filled with sculptured details
representing the surface of the desert covered
with bushes, wild animals, and huntsmen. The
Egyptian draughtsman has arranged them all
in distinct rows, one above the other; seven of
these remain, while one or two at the top have
been destroyed.

Among the huntsmen are depicted the three

1 The determinatives are figures of the oryx, the ibex,
and the common gazelle.

2 Literally, "one to whom those-who-were-reported-to
reported ;" he was so high an official, that officers, who re-
ceived reports from subordinates, themselves had to report
to him.

14

EL BERSHEH.

sons of Tehutihetep, with their names, Shernsu-
em-khau-ef, Usertsen-ankh and Nehera, shoot-
ing arrows. It is much to be deplored that
the colours have entirely gone from this
interesting sculpture, and that it has been
much injured in other ways ; yet what remains
of it is very intelligible.

In the top row we see a man armed with
bow and quiver advancing from the left
towards a galloping animal (bubale?) accom-
panied by its calf, while a man crouching on
the ground appears to be securing the end of
a bolas or lasso to a stout peg by a slip-knot.
The bolas has no doubt caught the horn of the
animal, the upper part of which is destroyed.
The legs of numerous animals are seen behind.
At the right-hand end of the row an archer
pursues a bubale (?) to the fence. Just below
is a row of bushes, with a hare crouching.

In the next row on the left are two oryxes,
and a man pulling at a bolas which has pro-
bably caught the hind leg of one of them ;
then six bubales and a calf ; and a man whirl-
ing his lasso round his head to cast at a large
animal already noosed by another huntsman
at the end of the row. The last has foreign
features, with pointed beard and long hair,
and wears only a very narrow girdle ; doubt-
less he is a Bedawi huntsman of the desert.

In the third row is an archer shooting at two
ibexes accompanied by a young one. Behind
them is a hillock, up which climbs a porcupine.
Beyond is a leopard, then a gazelle, and below
a bubale with calf and three addaxes (?).

In the fourth row Shemsu-em-khau-ef with
his bow and quiver, find with spare arrows in
his hand, shoots at a herd of oryxes. On the
other side of the fracture there is a lion, a hare
and a jackal ; then two ostriches, and a man
perhaps driving them.

The next row is much injured. On the
right are Usertsen-ankh and Nehera shooting
at a large antelope, above the fore-legs of which
remain the hind-legs and tail of a little jerboa.

In the sixth row are the heads of four stags
or fallow deer, nobly posed, and other game;
we can also see the characteristic curled tail of
an Egyptian hound.

In the bottom row men are setting up posts
and driving back large wild oxen1 with staves.
They wear ostrich feathers in their hair, like
the Egyptian soldiers.

Left-hand Wall (see Key Plan, k).

The wall on the left-hand side is completely
destroyed. We may conjecture that the subject
was a scene of wrestling and fighting corre-
sponding to the hunting scene on the opposite
side.

Inner Wall, right side, pi. viii. (see Key
Plan, h).

Tehutihetep, wearing a collar, a fillet round
the head and a short tunic, is in a canoe,
fowling with a throw-stick. Two women, pre-
sumably his wife and daughter, are with him in
the boat, and behind him were his three sons
and an attendant holding a large shield. The
papyrus clump which must have occupied the
space between the end of the boat and the
right jamb of the door has entirely disap-
peared, probably owing to its having been only
painted, not sculptured. Similarly the water
on which the canoe floats is represented only
by a blank space. The same is the case with
the water in the next narrow band below, in
which are sculptured three boats laden with
papyrus, &c. ; in two of them, as often, the
boatmen are represented sparring; the third
boat is almost entirely destroyed.

The inscription, in eight vertical lines, above

1 These oxen closely resembling the domestic breeds are
also seen in Beni Hasan, Part I., pis. xiii. and xxx., Part II.,
pis. iv. and xiii., as well as in paintings of the XVIIIth
Dynasty. It has been the custom to identify them with
various large species of antelopes, but the excellent sculpture
at El Bersheh excludes this idea.

INNER CHAMBER, OUTER WALL.

15

Tehutihetep's head relates to the hamu en apdu
an er-pd, " catching of wild-fowl by the erpa-
prince, Tehutihetep."

In the last row are men bringing offerings of
the products of the marshes — wild-fowl, lotus-
flowers, &c.

Inner Wall, left side, pi. ix. (see Key Plan j).

On the other half of the wall beyond the
doorway, Tehutihetep stands in a canoe, spear-
ing fish. His dress is nearly the same as
in the picture just described, but he wears a
different waist-cloth. The harpoon is poised
in his hands ; the right-hand edge of the
picture is destroyed, but usually in these scenes
the harpoon has a double point, on which are
transfixed two fishes. A female relative kneels
in the middle of the boat, and another stands
holding a spare harpoon. In the field behind
are the figures of the three sons ; the top
left-hand corner is broken away. The water
beneath is full of fish and blue and white
lotuses. Over Tehutihetep's head is : —

\_kkens~\ seMet seshu pehu meru an er-ph

ha seiner uati en merut dri NeMen Zehuti-hetep

sab ad mer k/iu-a k/ierp did neb netert

ur dua Kay sa Zehuti-hetep ha. mer henu neter

Zehutihetep dr en Sat-Meper-ka neb dmakh

" Canoeing in the papyrus beds, the pools of wild-
fowl, the marshes and the streams, by the erpa-
prince, the ha -prince, he who belongs to Nekben,

Tehutihetep. The sab-ad-mer , great of

five, Kay's son Tehutihetep. The /m-prince, the
superintendent of the priests, Tehutihetep, born of
Sat-kheper-ka, possessing the reward of worth."

Below this scene is another representing
three boats laden. The inscriptions accom-
panying them are fragmentary and difficult to
translate.

Inner Wall, centre, pi. ix. (see Key Plan i).

The framing (technically "architrave") of the
door reaches nearly to the ceiling, and the little
space above was left blank. The framing itself
is very much destroyed. Of the lintel a fragment

of the right-hand end remains in situ. At the
top of it two horizontal lines of inscription
were incised, running in opposite directions.
The first shows the beginning of a prayer to
Anubis, the second the name of Tehutihetep at
the end of the line. Below this are the remains
of a figure. Two other pieces belonging to this
lintel are given in pi. ix., 4 and 5, but the
positions of these fragments are uncertain, and
the restoration of the scene is therefore impos-
sible. On each jamb are four vertical lines of
hieroglyphs, terminated by a single horizontal
line, giving the name and titles of Tehutihetep.
Very little remains of all this. At the bottom
of each jamb was a figure of Tehutihetep
standing with a staff in his left hand and a
hherp-sce])tre in his right hand.

In the thickness of the wall are traces of a
vertical line of inscription in large hieroglyphs
as follows, repeated on each side : —

~fes\ i=i <=> - *=^jr o d ^h

Er-pa ha. sab ad mer ur dua Zehutihetep neb dmakh

"The erpa-prinee, the Tia-prince, the sab-ad-mer,
great of five, Tehutihetep, possessing the reward
of worth."

5. INNER CHAMBER, Pls. X.-XXXI.

Outer Wall, right side, pi. x. (see Key Plan p).

On the right-hand side of the front wall is a
scene of ceremonial purification.1

On a plinth stands Tehutihetep with his
arms to his sides, while two figures pour water
over him. For this ceremony he wears a wig
and false beard, a broad necklace and a short
pleated tunic ; his feet are bare. His titles are
above him. On each side of him are corre-

1 Compare scenes of a similar character in Lepsius' Denlc-
maler, Abth. ii., Bl. 65, tomb of Ra-shepses; ii. 104, 3,
tomb of Ptah-hetep (Old Kingdom) ; and iii. 11, f., tomb of
Reimi at El Kab (XVIIIth Dynasty).

16

EL BERSHEH.

sponding figures, those on the right being much
mutilated. In the copy by Nestor de l'Hote
the names of the two top figures on the left
are preserved. The first, who pours the water,
is the second son of Tehutihetep, Usertsen-
ankh ; the second, carrying a basket, is the
third son, Nehera. On the other side we
see that the eldest son, Shemsu-em-khau-ef, is
carrying the vessel, but the figure pouring on
this side is not named. The vessels contain
cleansing materials, for on the left is the in-
scription erdet bed-neter, " giving natron," but
on the right the name of the substance is
destroyed.

In the next row on the left the kher heb
Mehti (?)-em-hdt, " lector Mehti (?)-em-hat,"
reads from a roll : —

zed medu da eh qesui-eh tern drt-eh

<; saying : Be washed thy [limbs], thy hones, be com-
pleted (?) what belongeth to thee."

The corresponding compartment on the right
is destroyed. The same is the case with the
next row, where on the left there is a man
bringing a curious spoon-like instrument, while
a second carries a staff and a box. The latter
is called a box of natron {hen en bed-neter).

In the bottom row on the right a man carries
a hen en...(?), "box of. ..(?)." On the left a
similar figure brings a hen [en] hebsu udb, "box
of clean clothes."

The titles of Tehutihetep were very fully
given, but are now much destroyed. In the
last seven lines can be deciphered : —

1

^^

"lmiiiii

^ *A U J:

v-^j-

^^S

o D

nn

11! 1

tin

[ S3 AAAAAA

o S

AY ~1

1

U

0©

[mer upf] (1) ent hetep neter se-hetep neteru her-
(2) es aa en set neb ur dua em hetu (3) Zehuti ent
qema meh kherp hetep neter (4) her se-sheta en

reu-peru hen neter en Khent- (5) hesert

(6) her tep nekheb (7) [see plate] ha kherp

nesti Kay sa Zehutihetep neb dmakh

"[Superintendent of the distribution?] of the divine
offerings, pacifying all the gods with them, the
gate of every foreign country, great of five in the
temples of Tehuti of the South and North, regu-
lator of divine offerings, set over the mysteries
of the temples, priest of Khent-hesert (Thoth)

chief of the city of Nekheb, the ha-

prince, regulator of the two thrones, Kay's son
Tehutihetep, possessing the reward of worth."

Outer Wall, left side, pi. xi. (see Key Plana).

On the other side of the door is a corre-
sponding scene, very much destroyed. Tehuti-
hetep is fully clothed and wears sandals, but
there is no trace of the usual staff ; priests and
others are performing ceremonies before him.
His titles are almost entirely destroyed. The
subordinate figures seem to have been in four
rows as before. At the left-hand end are his
sons one above another, and the «<x&-priest
Sebek-a-na. Immediately before his foot is
the an hen Nekht-dnkh sa Sep, " scribe of the
box, Nekht-ankh's son Sep." On the right
all the upper figures are destroyed; the
second from the bottom is dressed in a long
tunic and holds up an egg-shaped object in
his hand. He is perhaps named Tehutinekht
ar en Sat-hez-hetep, " Tehutinekht, born of Sat-
hez-hetep." The inscription in front of him is
much mutilated, and ends —

entiu dr as pen, " those who made this

tomb."

Before Tehutihetep' s feet a man pours water.
The inscription in front reads —

seth an hen-neter, " the priest cleanses."

Another man carries a stick and a box.

Left-hand Wall, pi. xii.-xix. (see Key Plan r).

The left-hand wall of the inner chamber is
divided into seven rows, forming two great

TRANSPORT OF THE COLOSSUS.

17

scenes running from end to end. The uppermost
is the famous scene of dragging a colossal
statue, occupying five rows. The subject
divides itself into the representation of —
(1) Tehutihetep, with attendants, following the
statue; (2) the inscription of thirteen lines
describing the scene ; (3) the colossus dragged
by rows of men ; (4) the temple or building to
which it was brought, and the sacrifices made
on the occasion.

1. Tehutihetep, with attendants, following the
statue (pi. xiii.).

Tehutihetep, richly apparelled, is proceeding
on foot. His head is closely shaven. He wears
a loin-cloth, a long tunic, and over his shoulders
a light cape, fastened above his waist ; on his
breast is a broad necklace, and sandals are on
his feet ; in his right hand is a | sceptre,
painted with bands of colour, and the early
copies by Hay and Nestor de l'Hote show the
staff in his left hand, and in front of him a
fragmentary line of titles in large characters.
The staff and inscription are now both de-
stroyed ; the inscription ran —

v r^i2_ A-vwv\
<0

®

TTTl

_=£>

T

•D © fl^f"^ D ^J

[Er-pa ha] semer uati en merut her tep dat Mentet
sekftem neteru [dripe neb ha Zehutihetep neb dmakli]

"The erpa-prinee, the /m-prince, confidential friend
of the (king's) choice, chief of the high offices,
who influences the gods, he who helongs to every
town, the /ia-prince, Tehutihetep, possessing the
reward of worth."

Behind him in the bottom row is an armed
attendant carrying a battle-axe and with a
peculiar garment (?) hanging at his back ;
three spaces behind him are left blank, then

Restored from the inscription on the right-hand jamb
of the doorway to the temple on pi. xvi.

come the three sons of Tehutihetep in order —
Shemsu-em-khau-ef, Usertsen-ankh, and Ne-
hera. They wear loin-cloths, pointed in front ;
a very unusual decoration, namely, a long
bead necklace, is seen round the neck of the
second, and may once have figured on the
others.

In the third row is the sahu kefa ah kherp as
Ab-lcau sa Sep, " servant who conceals (?) the
heart, he who superintends [the construction
of] the tomb, Ab-kau's son Sep." He holds a
spear and battle-axe. Next there is another
spear-holder, then a sedan-chair borne on the
shoulders of four men. The three first have
sandals, and the third figure wears a curious
garment round the loins.

In the second row one man bears a shield of
dappled bullock's hide ; another a large fly-flap
and a long staff ; the third a short staff and a
fly-flap. The last two have large oval plates, or
skins, the nature of which is obscure, strapped
on their chests. The fourth carries an ample
robe (perhaps the winter garment of pi. vi.)
thrown over the left arm. The fifth bears a
bow and a basket ; the sixth a bow and short
staff, with a closed quiver slung on his back.
In the top row remain the lower parts of five
sandalled figures. The first figure probably

holds either a baton v or a censer a □ burning

incense. The second has a long staff ; the

inscription before him seems to read, udh,

"pure " The inscription before the third

probably reads, dnti udh, " pure frankincense;"
that before the fourth, hebs udh, "pure clothes."
These figures probably carried boxes containing
the materials mentioned.

2. The Long Inscription (pi. xiv.).

Immediately before the large standing figure
of Tehutihetep is an inscription of twelve
lines, referring to the transport of the colossal
statue, as figured in the scene that follows.
Its importance was long ago recognised by

c

18

EL BERSHEH.

Chabas,1 who in 1873 made the first attempt
to translate it. In 1878, Professor Maspero2
improved considerably on the first version;
Professor Erman3 printed a partial translation
in 1885; Professor Brugsch did the same in
1891 ;4 and Maspero revised his own trans-
lation last year for his Etudes de Mytliologie5
The text is extremely difficult, so that at
present it is impossible to fix the sense satis-
factorily. The copy given by Lepsius appears
to be absolutely correct as far as it goes : we
have compared it with copies by Nestor de
l'Hote, Bonomi (Hay), and with Major Brown's
photograph, without finding any error. The
inscription is now all destroyed, excepting a
scrap of the first line. The earlier copies show
lacunae at the tops of the lines, due to the
earthquake ; fortunately, in clearing the tomb,
we found amongst the debris two inscribed
fragments, which complete the text from the
second to the eighth line. These fragments
have been presented, with others, to the British
Museum. The text in the plate is from an
enlargement of Major Brown's photograph
collated with Lepsius's excellent copy.

1. shems tut ne meh xni em dner ne Het-neb. dsth
sheta urt uat dt-nef her-es er Met neh[f\. dsth
sheta 2. her db en reth dteh aat her-es ma (sic) dner
sheta ne sent em dner-ne-rudet. erdd-hud iut
3. zamu ne hunu neferu er art nef uat hena. sau
ne Mertiu-neter ne dhu Merpu hena 4. rekhu zed
reth net nekht-a d-n\_d~\ er dnt-ef db-d fu netiu
demdet hat nefer urt maa 5. er Met nebt

dau dm rehen-nef her khred nekht-a em ah sedau 6 (?)

1 Melanges Egyptologiques, IIP serie, Tome ii., p. 115
et seq.

2 Transactions of the S. B. A., vol. vii., pp. 7-10.

3 Mgypten, ii., pp. 633-4.

4 JEgyptologie, pp. 293-5.

5 Tome i., pp. 55-61.

6 This seems to be some form of the word I c^

ah-sen Meper 6. aui-sen nekht ua dm her drtpeht
se Ma

dsth tut-pen dfd em per em du aa em 7. shau er Met
neb[t]. hauu aper meh em shepsesu dep maa ne
meshau-d ne neferu zamu (for neferu ne zamu?)
8. Merseku dep maa-ef dept re-sen em duaut-d em
hesut-dent Mer seten mesu-d 9. [ Man ?] 7 Meher
mekhet-d heseptiu-d her nds duaut, seper-na er
demaen net-ten 10. \j)atl] demdet hat nefer urt
maa er Met nebt hau dru em hat sab-dd-mer dru
ne 11. [mekhetT] em Menu net-ten semen-n[d] em
Maut dep dteru. en ha db-sen nen dr-nd drt-d nd
12. [Mertneterl] semenkht en zet zet mekhet
hetep ds-d pen em hatu-ef ent zet zet

Following8 the statue of 13 cubits in stone of Het-
nub9 (alabaster quarry). Behold, very wonderful10
was the road upon which it came, more than any-
thing. Behold, wonderful 2. to the minds of men
was the dragging of valuable stone along it on
account of the stone (the rocky way from the
quarry?), (and) difficult (would it have been even)
for a mere square block (or " foundation block ") of
sandstone. I caused to come 3. troops11 of goodly
youths in order to make for it the road, together
with the guilds (or " orders") of tomb-sculptors
and quarrymen, the foremen with them 4. knowing
how to point out (lit. "say") the strong-armed.10

perhaps written simply I

spelling be possible, I

by all the copies and the photograph.

y£> l or, if such a
l : the last is favoured

' The remains of a sign shown on the new fragment are
very strange, and do not readily connect themselves with
any known hieroglyph.

8 Bringing a statne in procession is expressed as " follow-
ing " it.

9 On the quarry of Het-nub see p. 23.

10 sheta, " secret," " mysterious," almost in the sense of
" difficult," or of " wonderful."

11 The word zamu, which we translate " troops " and which
occurs so many times in the inscriptions referring to the
transport of the colossus, seems to mean (1) able-bodied
youths fit for training, almost " subject to conscription " ;
(2) trained gangs. In order to accomplish their great
undertakings, the Pharaohs must have had at their command
enormous bodies of disciplined men accustomed to united
labour. The word zamu appears always to be used with
reference to this kind of discipline. "I trained the zamu
of mynome," or " the zamu of Egypt," is a phrase frequently
found in the mouths of princes and Pharaohs. They would
probably be employed not only in the construction of
pyramids or temples, but also in warfare on occasion,
in keeping in order the dams, &c.

12 This was Professor Maspero's translation before the
discovery of the new fragment confirmed in a remarkable
way his suggested restoration of the line : yet even with
that confirmation of his reading we cannot feel sure that

TRANSPORT OF THE COLOSSUS.

19

I came to bring it, my heart enlarged, the towns-
men all rejoicing : exceeding good was it to see
5. more than anything.

The aged one among them leaned upon the boy, the
strong-armed was with the trembler (palsied), their
hearts rose, 6. their arms became strong, each one
of them displayed the force of a thousand men.

Behold, this statue, well squared, was coming forth
as a rock (or, " when coming forth from the block
of stone "), more 7. costly than anything. A fleet
had been equipped and filled with valuable things ;
the foreheads (?) of my army, the goodly youths of my
troops were 8. with the feats of its foreheads (?).'
Their speech was full of my praises (and) of
my favours of-before-the-king, my children 9. in
splendour (?) adorned after me. My country-folk
shouted praises. I approached to the habitation of
this town. 10. The whole divine cycle (?) rejoiced,
it was exceeding beautiful to see more than anything
that the ^a-princes had done formerly (or) the
sab-ad-mer officers had done 11. [for future fame]
within this city, (whom) I had placed on altar-
bases upon the river-bank.2 Their hearts never
devised these things that I did, in that I had made
for myself 12. [a sepulchre?], established for ever
and ever, after that this my tomb rested from its
work of eternity.

3. The colossus dragged by rows of men (pis. xii.
and xv.).

The statue taken from the quarries of Hetnub
must have been of alabaster, or rather arragon-
ite, and is by far the largest monument in this
material on record, being a seated statue,
13 cubits, i.e. over 20 feet, in height. In the
picture it is all white, excepting the head-dress
and artificial beard, which are coloured blue.
The right arm is bent ; the hand, closed and
holding a napkin, rests on the thigh. The

the meaning is correctly given ; we might translate the last
part "overseers well skilled. The strong-armed said, 'I
have come to pull it, with pleasure in my heart,' " showing
how willingly men volunteered to help.

1 Cf. Catalogue des Monuments, I., I., de Philae a Ombos,
p. 66, where hetru em seku tep-maa-ef occurs; but the passage
is extremely difficult.

2 Or "the ha- princes placed before, the sab-ad-mer officials
placed behind (in the procession) within this city, I enter-
tained at banquets upon the river-banks."

only clothing is a head-dress and loin-cloth.
The chief interest centres in the former, the
copies of which vary considerably. The head-
covering was painted blue, with black ribbing.
The questions to decide are, whether it had the
uraeus in front, so representing a king, and
whether it had a twisted pig-tail behind. None
of the early copies show the uraeus, but the
photograph strongly suggests it. The copies
by Ricci and Weidenbach show a short and
thick prolongation of the head-dress behind the
plinth, bound round at the end with a cord.
The photograph partly confirms this, but the
prolongation appears to be narrower, thus
indicating that the head-dress terminated in a
variety of the pig- tail (really a gathering to-
gether of the material) that is proper to this
adornment of kings. The throne is plain;
doubtless it was a solid block in the original,
with legs and seat indicated in sculpture ; the
cushion is shown bent over the low back.
Behind was the usual plinth to support the
figure, reaching to the neck. The base is rect-
angular and plain. The colossal statue is placed
upright on a wooden sledge ; a band formed by
a number of ropes (coloured brownish) passes
over the lap and arm, and is fixed to the side
of the sledge, while two other bands below the
knee and above the foot are brought round
horizontally behind the chair. In order to
tighten them, these bands have been forcibly
twisted, and the twist secured by sticks passed
through and kept in place with cord. Where
the bands were liable to chafe the stone, the
statue has been protected by pads of dappled
ox-skin.

The front of the sledge is curved upwards
and rounded at the top, and to it are attached
four hawsers, dragged by parallel lines of men,
each row consisting of twenty-one pairs, pull-
ing on opposite sides of the rope, and a
leader, the latter with the end of the rope
over his shoulder. On the knees of the
colossus stands a superintendent, clapping his

c 2

20

EL BERSHEH.

hands to mark time.1 The inscription over
him reads : —

(1) zed medu2 del Men ne mesha (2) an mednu (?)
(3) Zehutihetep mery seten%

(1) Speech : Giving the time-beat to the soldiers
(2) by the signal-giver (?) (crying), (3) "Tehuti-
hetep ! beloved of the king ! "

Another figure standing on the base pours
water from a jar in front of the sledge, perhaps
only a ceremonial act, since even in large quan-
tities water poured upon the ground could not
assist the dragging. In front of the statue is
a man holding a censer and fanning the burn-
ing incense in honour of the figure. The in-
scription reads : art seneter, " censing," Over
the head of the figure he is described as the—

(1) kher heb an ut ne per seten (2) an as pen
deb (?) (3) Heru Amend-ank/m

(1) Lector, mummy-painter of the house of the king,
(2) decorator of this tomb, the embalmer (?) (3) of
Horus, Amena-ankhu.

In the row below the statue are three men
with yokes, bringing water, presumably to pour
before the statue. The inscription reads —

fat mu an per zet
Carrying water by (men of) the house of eternity.

Behind them three men carry on their
shoulders a great block of wood with curiously
jagged outline at the top. The inscription
above reads —

fat Met ne seta an hemtiu (?)

Carrying logs of conveyance by the workmen (?).

Behind them are three overseers, armed with
sticks.

1 Wilkinson's copy shows a water-skin upon his back
slung from his neck, but this is not traceable in the photo-
graph, nor in any other copy.

2 This is Prof. Erman's new reading of the group i j)

which he considers to be an abbreviation. We have no
doubt that this is the correct view.

3 ^Restorations from the old copies are not given in pi. xv.
and reference must be made to the general plate No. xii.

Behind the statue are four rows of men,
three in each row. The upper ones have a
close-fitting loin-cloth, the rest have it pointed
in front. One of the leading figures, probably
that in the third row, is the

Merp hatu em tut pen an hen [Ne~\Mtd-anM sa
Sepd

He who undertook the work of this statue, the box-
painter (?), Nekhta-ankh's son Sepa.

The leader of the fourth row is the mer per
Nehera, " steward Nehera."

With regard to the men dragging the statue,
the two places of honour, in the middle, are
reserved for the youths of the privileged military
and sacerdotal classes, while the two outer
rows are occupied by the able-bodied youths
of the East side and the "West side of the nome
respectively. Although none of the rows of
men are uniformly dressed, the costumes are
worth noting.

(1) The two outside rows are very similar
to each other ; there are, perhaps, only two or
three shaven heads in each. Most have frizzed
heads of hair, a considerable number have the
hair plain, and the only dress is the usual close-
fitting loin-cloth.

(2) The priests wear the same dress as the
last, but are distinguished by the large pro-
portion of shaven heads amongst them. Two
only have their hair frizzed, and about a dozen
have smooth hair.

(3) The dress of the warrior class shows
more variety, and is altogether the most note-
worthy ; the neat white loin-cloth of civil
costume appears nowhere. All the dresses
are open in front, in order to give freer action
to the limbs, and are completed by a separate
piece of stuff hanging from the belt. In many
cases the tunic is long, white, and cut square
in front ; one such tunic is speckled black. In
a great many instances a much smaller garment
is worn, cut away and rounded in front, and
coloured brown. It is not easy to ascertain

TRANSPORT OF THE COLOSSUS.

21

the nature of the pendant piece.1 Its colour
may be green, brown or white, generally
marked with paler spots. In two cases there
are coloured cords hanging down from the
girdle and terminating in tassels, and a few
have a pointed white object — probably a
narrow end of the cloth — hanging in front.
Two have bands crossed on the chest, and
encircling the body below the breast. The
hair is generally frizzed (coloured black, at
least in some cases2) — never shaven ; some-
times it is smooth, and in seven cases an
ostrich feather is worn in it. In the fifth
group from the right a youth wears a fillet
round the top of the head, and the shape of
the wig of his neighbour on the left is peculiar.
The inscriptions referring to the four rows
are as follows : —

Row 1. The inscription, in two vertical
lines at the right-hand end of the row, reads —

zamu ne dment JJnt iu em hetep

The troops of the West side of the Hare nome,
arrival in peace (i.e. dragging the statue to its
destination).

The inscription above the draggers reads —

zed med,u dment em heb db-sen fu maa-sen menu ne
neb-sen dau k/ieper em her-db-sen per-ef per dt-ef
du-ef em nekhenu

Speech : The West is holding festival, their heart
expands when they see the monuments of their lord,
the heir coming into their midst, his house and the
house of his father when he was a child.

Row 2. The inscription at the end of the
row reads —

zamu ne ahautiu ne JJnt sper(?) em hetep
The troops of fighting-men of the Hare nome, arrival
in peace.

1 A very similar costume is worn by the huntsmen at
Beni Hasan, vide Beni Hasan, Pt. I., pis. xiii. and xxx.

2 The colours in Wilkinson's copy appear untrustworthy,
and our remarks on the colours are based upon careful
facsimiles by Mr. Howard Carter of two pairs of the
men.

The inscription over the military draggers
reads —

zed medu neferu ne zamu dr ne yieb-ef dau uaz em
hestu dthy neb iu-en se-uaz-en mesu-ef em Met-ef
db-en fu em hes[t^\u net seten men uah

Speech : Oh ! goodly youths of the troops, the
creation of their master, the heir flourishes in his
inheritance by the favour of our lord the king, let
us come, let us make to flourish his children after
him, our hearts expanded with joy by the royal
favour of the king, may he long remain on the
throne !

Row 3. The inscription at the end of the
row reads —

sau ne uabu ne Tint iut em hetep

The orders of the priests of the Hare nome, arrival
in peace.

The inscription above the priestly draggers

reads —

zed- medu meru Zehuti ZehutiJietep mery seten mereru
netlu-ef hesesu neteru-es nebu reu-peru em heb
db-sen fu maa sen hestu-ek ent k/ier-seten

Speech : Oh, beloved of Thoth ! Tehutihetep, beloved
of the king, beloved of the people of his city,
praised by all their gods. The temples are holding
festival, their hearts expand with joy when they
see thy favours of before the king.

Row 4. The inscription, in two vertical

lines at the end of the row, reads —

zamu ne dbtet JJnt iut em hetep

The troops of the eastern side of the Hare nome,
arrival in peace.

The inscription above the draggers reads —

zed medu nza en neb-d er Theretd Mehti (?) hau dm-ef
dtefu-ef em heb db senfu hauem menu\_-ef~\ neferu

Speech : Proceeded my lord to Thereta, the god
Mehti (?) rejoices in him (and) his fathers are in
feast, their hearts expand with joy, rejoicing in
his beautiful monuments.

In the top row seven groups of men are
seen advancing to greet the arrival of the
statue. The details of the figures are much
destroyed. The men in the second group from
the right, which is the best preserved, have

22

EL BERSHBH.

shaven heads (yellowish, speckled with black),
and hold palm branches. Their loin-cloths are
similar to those of the soldiers ; but the white
tunics are much shorter, and alternate with the
rounded brown tunics;1 they also have tassels
or white strings with black ends. Some of
the other groups are more like the civilians
and priests. Above this row is an inscription
which reads as follows : —

Unt em heb db-es fu clau-es khred[u] zamu-[_es]
se-uaz Mredu-es her [ne]hem db-sen em heb maa-
sen neb-sen sa neb-sen em hest dthy her art menu-ef

The Hare nome is in feast (and) its heart expands
with joy, its old men and the children of (?) its
troops who refresh its children are rejoicing-, their
hearts in feast, when they see their master and
their master's son in the favour of the king,
making his monument.

4. The temple or building to which the statue
was brought, and the sacrifices made on the
occasion (pis. xii. and xvi.).
The fourth section of this great scene is
now almost destroyed, and it is with great
difficulty that we have been able to ascertain
its general character from existing fragments
and the copies and notes of previous explorers.
Arundale's slight, but careful, sketch2 of the
side of the tomb shows the wall in a more com-
plete state; and, although it gives no details,
we learn from it where to place the figure of a
doorway copied by Bonomi3 and Lepsius 4 and
recently cut away.5 Unfortunately the re-
mainder of the scenes appear to have been much
injured even then. From pi. xii. it will be
found that there was at the base of all, in the
fifth row, a scene of sacrificing oxen ; above it

1 Copied in colours by Howard Carter.

2 Brit. Mus. Add. MS., 29,814, Ms. 3 and 4.

3 Brit. Mus. Add. MS., 29,814, fol. 6.

4 Lepsius, Denkmaler, Abth. ii., Bl. 135, a-d.

5 The two jambs of the doorway, which were cut away in
1888 or 1889, are now preserved in the Florence Museum,
and were photographed there by Prof. Flinders Petrie in
1893.

must have been offerings brought to the statue
by men and women occupying four rows which
reach to the frieze. At the end of the wall and
corresponding to these four rows a great in-
scribed doorway was shown, displaying a figure
or standing statue of Tehutihetep within. On
the lintel and jambs of the doorway we read
the name and full titles of Tehutihetep in no
less than eleven lines, and over it the name of
the building or estate, viz : Zehutihetep-m,en-
meru[t] em Unt,6 " Tehutihetep-firm-in-favour
in the Hare nome." The bases of the jambs
are represented plain.7

As to the rest of the scene, very few details
can be recovered. The signs composing the
line of inscription on the left of the scene of
offerings are faint and mutilated, but they are
all identifiable and read : —

sekhepet hat uzhu dnent hesept-ef dmt Unt en tut

pen en ha Zehutihetep neb dmakh
Bringing the first-fruits of offerings, brought by his

lands within the Hare nome, to this statue of the

/m-prince Tehutihetep, possessing the reward of

worth.

Of the scenes of offerings only a few figures
can be traced. Near the gateway were placed
vases. The statue within the gateway is accom-
panied by the titles and name of Tehutihetep.
The inscriptions on the gateway itself, after
eliminating mere repetitions, are as follows : —

On the lintel : —

(1) Er-pa, ha, ur dua emper Zehuti, kher heb her tep

(2) kherp neter hetep, kherp nesti

(3) mer henu neter, sent kherp shenzet nebt, dri
Nek/ien,

(4) sab-dd-mer,

(5) her tep heseput (?) qemau, sekhem neteru

(1) The e^a-prince, the /^-prince, great of five in
the house of Tehuti, chief lector,

(2) Regulator of the divine offerings, regulator of
the two thrones,

6 This is given in Bonomi's copy, vide Brit. Mus. Add.
MS. 29,814, fol. 6.

7 They are marked " plain " on the copy of Arundale.

NOTE ON THE COLOSSUS.

23

(3) Superintendent of the priests, ^em-master of all
the tunics, he who helongs to the city of Nekhen.

(4) Sab-ad-mer,

(5) Chief of the southern estates, having power with
the gods.

On the left-hand jamb : — ■

(1) her tep act ne Tint, her sesheta ne mezu neter,

(2) semer uciti ne vierut, her tep dat khentet,

(3) sahu bdti, semer uati, dm db Heru neb aha, art
pe neb.

(1) Great Chief of the Hare nome, set over the
mysteries of divine words.

(2) Beloved confidential friend of the king, chief of
high offices,

(3) Treasurer of the King of Lower Egypt, con-
fidential friend of the king, he who is in the heart
of Horus (the king), lord of the palace, he who
belongs to every place.

On the right-hand jamb : —

(1) Corresponds to line 1 on the left-hand jamb.

(2) Similar to line 2 on the left-hand jamb.

(3) bener merut, " sweet of love."

NOTE ON THE COLOSSUS.

The scene that we have just described is of
great interest in several ways — the nature of
the statue, its colossal size, and the repre-
sentation of its conveyance, are all of singular
importance ; in fact, there is no other scene
depicting the method of transport by land of
the enormous monuments that the Egyptians
were accustomed to erect.

A seated statue of arragonite, 13 cubits in
height (about 22 feet), must have weighed at
least 58 tons. Granite statues weighing fifteen
times as much are not unknown in Egyptian
archaeology. Although the El Bersheh colossus
was so far inferior to these in size, the difficulty
of removing it was increased by the softness
and delicacy of the material. It seems that no
machinery whatever was used, and the method
employed was the same as that for conveying
statues of very moderate bulk.

The conveyance of the monument was
effected by obtaining large bodies of men

trained to combined action. They appear to
have been all drawn from the Hermopolite
nome, and are represented as giving their
services joyfully in honour of their prince. "We
now know with tolerable certainty the situa-
tion of the quarry from which the colossus was
obtained.1 The eastern mountains for a long
distance north and south from El Bersheh
contain veins of alabaster, and there are signs
of workings for this beautiful material at many
points. The whole extent of the quarries from
north to south may be estimated at a hundred
miles at least, but by far the most important
that have been discovered as yet are two situate
ten miles in the desert east of Tell el Amarna.
The graffiti in them attest their great im-
portance, the northern one having been
worked especially under the Old Kingdom,
the southern by the Hermopolite nomarchs of
the Middle Kingdom. Professor Petrie has
sketched the position of these quarries in his
last memoir,2 and shows the course of a well-
made road carried from the northern quarry
down the wady into the Nile valley, crossing
the head of a ravine by a causeway. From the
southern quarry the road is less well defined,
but the two tracks must have joined after a
few miles. Perhaps for the execution of so
large a work as this colossal statue Tehuti-
hetep may have preferred to resort to the
earlier (northern) quarry, but his inscription
lays stress on the difficulties of the stony road,
" such as would have been difficult even for
the conveyance of a square block of sand-
stone." It would have been impossible to
convey the statue over hill and ravine in a
direct line north-west to El Bersheh or Her-
mopolis. The usual road must have been
followed, taking advantage of the wadys, and
running nearly due east. When the soft sandy
edge of the desert was reached, a firm track

1 Vide El Bersheh, Part II., Introduction.

2 Tell el Amarna, 1894, pi. xxxiv.

24

EL BERSHEH.

was obtained, probably, by making a stone
pavement such as is still discernible about the
quarries at Aswan 1 ; and when the procession
arrived at the alluvial clay of the cultivated
land, free use would be made of great
wooden beams laid longitudinally upon the
ground,2

The labour of dragging must have been
enormous, and probably the engineer would
economise his forces by making all the use
he could of the current of the Nile. If the
statue was destined for Hermopolis itself, it
must have been conveyed across the river ; and
in any case it is doubtful whether it could have
been taken by land along the eastern shore as far
as El Bersheh, for at the present time the land
passage is extremely narrow. The shipment
of large monuments was of course well under-
stood in Ancient Egypt, and we may feel sure
that this mode of transport was used in convey-
ing the colossus of Tehutihetep, and that it
floated down the stream for several miles.

The whole task must have occupied a very
large force of men for many weeks. The scene
in the tomb no doubt represents the last stage
of the journey and the arrival of the monument
at its appointed place.

There is no evidence to be found that so
large a block of alabaster was ever again
quarried, and it seems at first sight almost
incredible that it should have been taken by
any person of lower rank than the sovereign

1 In the survey of the quarries at Aswan, M. de Morgan
has explained the method of conveying granite blocks from
the quarry to the river, stating also that the tracks them-
selves were left bare, and that only piles of stones are to be
found at the sides of the tracks (see Catalogue cles Monu-
ments, I., i., p. 64). The Editor wrote the above from re-
collection of what he took to be stone-paved tracks in the
Eastern desert in 1887, but it is possible that the deep sand
deceived him as to their nature.

2 According to Prof. Petrie's suggestion, the piece of
wood with notched edge carried by four men was a beam,
to be laid in the ground with the jagged side downwards,
so as to grip the ground and prevent it from slipping with
the movement of the colossus.

himself. The head-dress of the statue is of a
royal type, and the photograph shows signs
even of the emblem of the royal uraeus, so that
we have been strongly tempted to see in this
statue a representation of one of theUsertsens.
There is, however, much evidence on the
other side.

First, the inscription in the scene of offerings
appears to specify the statue as that of Tehuti-
hetep, and it is only by inserting an extra sign
that we can attribute it to anyone else.2

Secondly, as Professor Petrie has pointed
out, the royal head-dress, though without the
urasus, is occasionally found on statues of
deceased nobles.3

Thirdly, the statue is not called royal or
connected with the name of a king in any of the
inscriptions ; and this would be strange if the
statue actually represented one of the Pharaohs.

Fourthly, the analogy of scenes in the
tombs representing the conveyance of statues,
as well as the whole drift of the scenes and
inscriptions in this tomb, point distinctly to
its representing the nomarch Tehutihetep.

After full consideration, therefore, we have
no hesitation in accepting the view taken by
all previous writers on the subject.

It was the custom in Ancient Egypt to place
in the tomb of a great man one or more statues
representing him, and serving as the material
basis for his "shade" or lea to rest upon.
Numbers of such statues of the Ancient Empire
have been found in the tombs. The statues
were capable of receiving offerings ; they might
also find a place in the temples of the gods in-
stead of in the tombs, and such portrait-statues
have often been discovered in temple ruins.
In the tomb of Hep-zefa at Asyut is a record

• As the copy stands at present, the inscription reads : —
"Bringing offerings to the statue of the prince Tehutihetep,"
but by reading [j «™« an instead of "»~* we, we might obtain
a plausible reading, " bringing offerings to the statue by the
prince Tehutihetep."

3 Lepsius, Denhnaler, ii., Bl. 64 his.

NOTE ON THE COLOSSUS.

25

of ten contracts with the priests of the local
divinity for offerings to be made to the prince's
statues. One of these statues is stated to be
in the temple of Anubis, another in that of
Up-uat, the chief god of the nome ; a third
was apparently at the foot of the flight of
steps which led up the hill to his tomb; and
a fourth was in the pleasure grounds, which
consisted, no doubt, of gardens with a reservoir
at the edge of the desert.1

In the tombs of the Ancient and Middle
Empire we find a number of scenes of the
transport of statues, either to visit a temple or
to be placed for the first time in their ap-
pointed situation. The transport was always
accompanied by certain ceremonies — the pour-
ing out of water on the ground before the
sledge, and the burning of incense. The
former ceremony may have had the practical
object of easing the passage of the sledge and
reducing the heat caused by the friction. In
several of the tombs at Beni Hasan a small
shrine containing a figure is being conveyed in
procession, followed by a number of attendants,
while dances and acrobatic feats are performed
before it.2

In the earlier tombs of the Vth Dynasty we
also see statues. In the tomb of Ptahshepses,
discovered by M. de Morgan,3 there are pro-
cessions of several standing statues, with and
without shrines. In another tomb at Sak-
kara, that of Rashepses, published by Lepsius,4
there are figured four colossal statues, all of
different types (two standing and two seated),

1 The inscription is published by Griffith, Inscriptions of
Siut and Der Rifeh, pis. 6-8, and has been translated by
Professors Maspero and Erman. The latest translation is in
Maspero's Etudes de Mytlwlogie et Archeologie Egyptiemies,
i.( p. 53 ff., where a number of documents dealing with the
subject are brought together ; see also Trans. S. B. A., vii.,
p. 6 ff .

2 See Beni Hasan, Part I., pis. xiii. and xxix., and Part
II., pis. vii. and xvii.

3 Revue Archcologique, sxiv., p. 18 ff., and pis. i., ii.

4 Denkmaler, Abtb. ii., Bl. 64 bis.

each drawn by twelve men and a leader. The
head-dress of one of these is very similar to
that on our colossus,5 and its form is un-
doubtedly to be explained by the fact of the
deification of the dead man.

In the tomb of Tehutihetep the statue is
being dragged in the direction of a great in-
scribed gateway. Between this and the statue
are scenes of offerings. It may be doubted
whether the statue was to be placed within the
building represented by the gateway, or was to
remain where it was outside. The gateway may
represent the entrance of Tehutihetep' s palace.
The position of the nomarch's figure within it
is curious, for, according to the method usually
followed by Egyptian artists, if it were a figure
standing upon the ground, it should be placed
on the level of the floor of the entrance ; in
reality it is raised half-way up the side.
Tehutihetep himself is figured in the pro-
cession behind the colossus, so that there is
little doubt that this figure in the gateway
represents a sculpture, possibly a statue raised
in a niche or upon a high pedestal. Or,
again, the artist may have broken through the
usual rules, and endeavoured to produce a view
in perspective.

The building was named Zehutihetep-men-
meru\f\ em JJnt, "Tehutihetep-firm-in-favour in
the Hare nome," and we may conjecture that
it was either the nomarch's palace or a country
residence of his, or a chapel intended only to
receive his &a-statues.

From the monuments and debris in the
granite quarries of Aswan, and the sandstone
quarries at Jebel es Silsileh, we learn that
figures were sometimes finished on the spot
before removal ; but it seems probable that the
final touches would not be given to the sculp-
ture until it had arrived at its destination.
Notwithstanding this, the colossus of Tehuti-
hetep appears as if quite finished in the

5 It has not the uraeus.

EL BBESHBH.

26

picture, and the inscription, by its reference to
the stony road, makes it probable that it has
been dragged straight from the qnarry through
the desert to the river side, floated down to the
city, and then drawn up to its place.

Before leaving this subject it is to be noted
that the expression " the praises-of-before-
the-king" is frequently introduced into the
inscription, and it is probable that Tehutihetep
was indebted to the Pharaoh either for the
gift of the statue or for permission to set it up
to his own memory.

Capture of Birds and Fish (pis. xii. and xvii.).
The four bottom rows on this wall are
almost entirely occupied with the subject of
the annual stock-taking of the herds. At the
outer end, however, a space corresponding m
height to the three upper rows (Nos. 6, 7
and 8) is partitioned off, and contains a scene
of Tehutihetep taking the leading part m
netting a flock of wild fowl, while a number of
peasants are figured drawing a shoal of fish
ashore. The designer has had the courage to
represent the two captures together in the
same pool, and he has not drawn in the outline
of the bird -net. With regard to the last
remark, however, we may suppose that the
signal for pulling has not yet been obeyed, so
that the edges of the net are hidden m the
water; the birds, in fact, are still feeding,
undisturbed.

In the top left-hand corner is seen the net
full of fish, with its floats on the edge, the
fishermen at each end just pulling it ashore.
The narrowness of their girdles is characteristic.
The rest of the pool is crowded with ducks
and geese of many kinds. The blue and the
white lotus appear in the water here and there.
Tehutihetep is seated on a stool, his wife
Hathorhetep standing in front. Above them
was a figure giving the usual signal for closing

the net by stretching out a cloth in his two
arms ; only a fragment of this remains, le-
hutihetep holds the cord in his hand, and
behind him was a row of probably eight
fowlers ready to pull. The end of the cord is
secured to a peg at the back. Over the signal-
man is a fragment of the usual inscription,
redet se®et, « causing to catch"; and above the
row of kneeling fowlers, det her ne uhau em
semt aptn an hd, &c, "giving assistance (?)
to fowlers in netting wild-fowl by the ha-

prince," &c.

The results of the capture are displayed
above, where avocets and other birds are
hung in bunches from a pole by the wings or
feet, and from their attitudes are clearly still
aliv'e ; other birds are in crates or cages. At
one point the division of this scene from the
next is uncertain ; in fact, it seems that the
artist wished to connect the scene of capturing
wild-fowl with the cattle scene by the intro-
duction of domestic geese, without drawing
any line of demarcation. The mutilation of
this part of the scene prevents us from being
certain on this point; one may perhaps con-
sider that some of the birds captured were
deprived of their power of flight and driven
into the farmyard. An official with his back
to Tehutihetep seems to be attending to this;
at any rate, the row of oxen (No. 8) in the
next plate is followed immediately by a double
row of geese facing in the same direction.

Annual Stock-taking of the Herds (pis. xii. and
xvii.-xix.)
At the inner end of the wall is a lightly-con-
structed building, a kiosque or booth, called
n 8 (T\ seh, in which is seated Tehutihetep.
He is "watching the great counting" o£ the
oxen This was evidently a very great oc-
casion in the nome. In front of him is seen
the arrival of a number of boats, and the
cattle are driven up to his scribes in three

STOCK-TAKING OF HERDS.

27

rows. The sell has an ornate Egyptian cornice,
supported by light columns, with lotus-bud
capitals and small circular bases; below the
cornice are inscribed the titles of Tehutihetep,
starting in the middle and running right and
left to the ends. No doubt this represents the
front of the seh,1 and Tehutihetep looking out
of it should have faced the spectator; but an
artistic representation of this attitude being
impossible to an Egyptian and contrary to his
traditions, this part of the subject is given in
profile. The great man is seated on an elegant
wooden chair of the usual Egyptian pattern,
dressed in his fine robes and holding a long
staff and feather fly-flap. A reed mat covers
the floor, and a little dog of turnspit type
stands beneath his master's chair. The in-
scription reads : —

ma[a art?'] thenut hat em dderu-[ef net kher seten
hena dderu-i~\ ef ne per zet dsth asha urt er Met
nebt, de-ef hesut er [sedem Mesef-ef en sedem ?]
dp-ef set ne seten ne zet zet an ha. ur dua Merp
nesti Zehutihetep mes ne Sat-kheper-ka neb dmakh

"Seeing the making of a great counting of his cattle
[of-before-the-king (of the king's gift) with his
cattle] of the house of eternity, being indeed very
numerous more than anything, he gives praise to the
obedient, [he punishes the disobedient ?], he counts
it to the king for ever and ever : by the /ta-prince,
the great of five, the regulator of the two thrones,
Tehutihetep, born of Sat-kheper-ka, possessing the
reward of worth."

The row of boats is somewhat injured, but
presents many curious details. We learn first
that it was the custom for a great man, in
order to avoid the unpleasant neighbourhood
of the sailors, to put the crew into a separate

1 The building here shown in elevation from the front is
sometimes (e.g. in the tomb of Paheri, of the XVIIIth
Dynasty, at El Kab, see pi. iv. in the Eleventh Memoir of
the Egypt Exploration Fund) represented in section |_j •
From these pictures we ascertain that the seh was a summer-
house of wood, open in front and probably at the sides, the
roof supported in front by two light columns.

? The restoration is from the inscription over the boats.

boat, which towed his own finely-furnished
dahabiyeh, the latter being without mast or
oars.

At the left-hand end we see on one of these
dahabiyehs a pilot standing with his sounding-
pole in front, and the steersman ready to
guide the rudder in the stern. Near the bows
is placed a seh containing a magnificent throne,
or more probably a sedan-chair, coloured black
and white,3 for use also on shore ; a figure of
the noble seated in it is faintly traceable, and
he holds a large fly-flap. Nearer the stern is
a rectangular mat-work cabin, and over it is a
pole placed horizontally in two forked uprights,
probably in order that an outer shade might be
thrown over the cabin in the hottest weather.
A tow-rope connects the dahabiyeh with its
tug, which here shows eight oars on one side ;
the rowers sit on benches or stools ; the row-
locks are not visible. The boat is going north-
ward with the stream, the mast is therefore
unshipped (with the sail wrapped round it),
and rests on two wooden props and on the roof
of the cabin. This boat also has a cabin of
mat-work like the last. The next boat is
larger still, and has ten oars on the side ; its
rudder-post is of enormous size. From the
action of the pilots in these three boats it is
apparent that they are close to their destina-
tion. In front of them is a smaller boat, with
its oars (six to the side) already shipped and
its crew gone. In front of this again are three
large boats, very much like the first group, one
of them being a dahabiyeh. They are moored
to the bank, the oars shipped and strong
punting-poles driven into the muddy bottom
to hold them tight. The inscription above
them reads : —

iut em hetep sper er seh ne art thenut dat em dderu-
ef ne Mer-seten hend dderu-ef [ne per] zet em
heseput Tint an ha Merp nesti ur det semer uati
ne merut est db seten sab[-ad-mer ha.

3 For ivory and ebony; shown in a coloured facsimile.

28

EL BERSHBH.

Kay sa Zehutihetep mes en Sat-kAeper-ha neb

am at

'•Arriving in peace, approaching to the hall of the
great counting of his cattle of-before-the-king
and his cattle of [the house of] eternity from
the farms of the Hare nome : by the /m-prince,
regulator of the two thrones, great of five, beloved
confidential friend, resting-place of the heart of the

king sab[-ad-mer, the /ia-prince, Kay's

son Tehutihetep, born of Sat-kheper-ka, possessing
the reward of worth] "

This inscription implies that the noble in the
boat is Tehutihetep himself.

The second row seems also to be at a certain
distance from the seh, and probably represents
the assembling of the cattle. In front are two
pairs of long-horned bulls fighting. In the
first group the animals have just crossed horns,
and are testing their powers of pushing j1 in
the second group one of the bulls has suc-
ceeded in getting below the guard of the
other, and its sharp horn has probably pene-
trated the neck. The inscription reads :
sefeM lea nekht, perhaps "let loose (?) mighty
bull!"2

As usual in this tomb, the dresses are of
interest. The herdsmen generally wear long
tunics, ribbed horizontally, and long hair; a
few, however, evidently of an inferior class
and deformed, have only the narrow girdle of
the fishermen. Several of them carry in their
arms rolls of ribbed matting (of reeds ?).

The two lowermost rows begin with the pre-
sentation of the chief herdsman to the prince.

1 The bull fights, so often represented in the tombs, may
be displays for the amusement of the spectators. The
inscriptions over corresponding groups at Beni Hasan (in
Pt. I., pi. xxx.) are : — upt kau an sau Khnemu-nekht,
"matching the bulls by the herdsman Khnemunekht,"
while one of the herdsmen exclaims, ha su, " charge him."
And over the attendants of the two bulls about to charge
(in Pt. I., pi. xiii.) is : — ha su meru dht ka nekht, " Charge
him, O thou favourite of the cows, O thou mighty bull."

2 At Beni Hasan (Pt. I., pi. xxx.) we have a similar
group: — sefekh mery dht, "let loose (?), 0 favourite of
the cows ! " (In Beni Hasan, Pt. II., pi. vi., the attendants
appear to be separating the bulls.)

The chief herdsman, as well as the introducers,
are provided with the neat loin-cloth that we
see on most of the officials represented in the
tomb. The under-herdsmen have the same
two varieties of clothing as before.

Behind, in the second row, are several
groups of calves, each group led by a herds-
man. Reed mats are thrown over the backs
of the young animals to protect them from
the cold. Following them is a man with
a long tunic, who carries a tray of conical
loaves and some lotus flowers. Two others
bear six rolls of reed matting between them
on a pole.3

A number of fine fat oxen of different
colours, some of them having horns artifi-
cially shaped, are brought up in the third row.
Their necks are decorated with broad orna-
mented bands, and each is led by its herdsman.

The beginning of this row is destroyed, but
the nearest official to the seh was a mer per,
" steward." Next came the an neferyt, " the
scribe Neferyt," the top of whose writing
tablet we can just see. Then comes the mer
per en hesept, "the steward of the domain."
An officer with his stick introduces one of the
chief herdsmen ; the legend over him reads
medu em bah, " speech in the presence." The
second is introduced by another officer, and
the legend over him continues the salutation
to the prince : uza ab-ek, " may thy desire
prosper!" Over the procession of fat oxen is
a continuous inscription, reading : —

meseb duau ne hat mezut kheft her erpa ha sahu bdti
kherp (reM) seten semer uati en mend her sesheta
ne Met neter khu (?) ne dm aha. kherp (sic) rekh
seten mater

" Leading oxen of the best of the stalls before the
face of the erpa-Tpvio.ee, the /ta-vrince" &c.

In the next row are numerous milch cows,
some with and others without horns, a few

3 The longitudinal lines of the reed-stems are too fine to
be visible in the plate.

NOTE ON THE SHIPPING.

29

calves, and behind them two bulls, one of
which is dappled. The hindmost has a bundle
of reeds upon its horns. Three herdsmen
bring up the rear. The titles and figures at
the head of this line are broken away ; one of
the figures, probably the fourth, is the an hen,
" the scribe of the box;" next is the mer aderu
seten, " superintendent of the royal herds ;"
the third is the mer per ne per zet, " super-
intendent of the house of eternity." Three
herdsmen armed with sticks, and directed by
two officers, appear to be keeping back the
cows. The inscription over the officers is
difficult to restore; it can hardly be hesebu
kau, " counting the bulls." The legend beyond
is also difficult and imperfect. It is the song
of the herdsmen, and seems to read: —

zed medu an shemsu kau : he ne then

sha, Mem-then semu, un-then shenu, \a\u ,s<x-

then nefer ne hdu-then kcma tut-then

peh-then seub db-then behesu

but ne mah-then nezem ne per-then

uz re ne neint then Metem

re er h ha Zehutihetep in em hetep

er then

" Uttering a speech by the followers of the oxen :

ye stamp the sand, ye tread the fodder,

ye browse on the herbage, your back, good for

your body your haunches, healthy

your belly, your calves evil is voyage,

pleasant is your disembarking

opening the mouth of the shutting the

mouth for the greedy the ha-prince,

Tehutihetep, comes in peace to you."

NOTE ON THE SHIPPING.

We will here gather together a few remarks
on the constitution of a princely flotilla during
the Middle Kingdom. We see that the ships
described above belong to the prince Tehuti-
hetep, and form the flotilla with which he went
to perform his great official functions. Pro-
bably three vessels would constitute a unit,
namely, the dahabiyeh, the tug, and the war-
ship as a convoy.

We have several representations of shipping
belonging to the Middle Kingdom in the tombs
of Beni Hasan. The earliest of these is in the
tomb of Khety,1 where there is a coarsely-
drawn scene of probably the same nature as
the present, with three rows of cattle at the top,
and two of ships on the water below. In the
upper row are two dahabiyehs, each drawn by
a tug with numerous oars. In the lower row
are four vessels with masts, the sails faintly
indicated; in one of these the sail is being
lowered, while two men on the bank are
driving in a mooring-post with heavy mallets.
In the later tombs of Amenemhat and Khnem-
hetep II. the drawing is better and the boats
are of a more developed design. In that of
Amenemhat2 we see the mummy of the prince
under a seh, apparently being conveyed up the
Nile to Abydos. The funerary barge on which it
is carried is of a peculiar shape, and is furnished
with two rudders ; it is towed by two sailing
ships containing soldiers — the front one with a
large sail, the second one with a small sail and
numerous oarsmen. In this case we may take
it that the second boat with the oarsmen is the
tug proper, on which, aided by the current,
they would depend for going down stream ;
and that the leader is the war-ship, which has
taken the other boats in tow to increase the
speed up stream with its large sail. Again, in
the same tomb,3 and corresponding to the last
scene on the other side of the doorway, the
harim of Amenemhat is going down the stream
to Busiris. The war-ship takes the lead with
its complement of rowers, then comes another
rowing boat, and lastly the dahabiyeh with the
harim; the tow-lines are not shown. In the
tomb of Khnemhetep II.4 we have the same
boating scenes as those of Amenemhat; but,
although it is of later date, the boating

1 Beni Hasan, Part II., pi. xii.

2 Beni Hasan, Part I., pi. xiv.

3 Ibid., pi. xvi. 4 Ibid., pi. xxix.

30

EL BERSHEH.

arrangements may seem rather less luxurious.
There are only two boats in each scene. The
funerary barge is towed by one sailing-ship
containing soldiers; and the harim boat, in
which the officers of the harim are shown, has
its own oarsmen, and is preceded, but not
towed, by a second boat containing the male
portion of the family. Probably the dangers
of navigation were so much increased by the
towing that it was found preferable for each
boat to carry its own crew.

Many parts of these boats in the tombs of
Amenemhat and Khnemhetep II. are brilliantly
coloured, especially the rudders.

A passage in a story current at the end
of the Middle Kingdom illustrates, and is
illustrated by, the boating scene on pi. xviii.
In the Westcar papyrus1 we read how Khufu
despatched his son Hor-ded-ef to visit the
magician Deda : " Then a flotilla was prepared
for the king's son Hor-ded-ef. He sailed
southward to Ded-Seneferu, and when the
flotilla moored at the quay, he went up by
land seated on a sedan-chair of ebony, with
its staves of ses-nezem2 wood, and spangled
with gold."

The white and black colours used in depict-
ing the sedan-chair of Tehutihetep point to
the combination of ivory and ebony, which are
so often mentioned in Egyptian texts as the
most luxurious materials for furniture.

Inner Wall, pis. xx.-xxiii. (see Key Plan, s, t).

On the back wall is represented the netting
of fish and fowl, a subject we have already
seen illustrated on the west wall ; but here it
is differently treated, with the addition of a
scene of bringing the captured game, &c, to

1 Erman, Pap. Westcar, pi. vii.

2 The wood of the carob tree or locust bean, Ceratonia
siliqua, according to Loret.

Tehutihetep. The wall is divided up on the
right into eight equal rows of scenes, on the
left the divisions are unequal.

The width of the top scene is fixed by the
height of the space above the door. The whole
of this row is occupied by one subject: the
capture of wild fowl with a clap net by
Tehutihetep and his eldest son. Above the
two figures is the inscription, reading : —

hu mer henu neter vekh seten seiner uati ur dua
Kay sa Zehutihetep neb dmakh

" The /^-prince, superintendent of the priests, royal
acquaintance, confidential friend of the king, great
of five, Kay's son Tehutihetep, possessing the reward
of worth."

To the right are three vertical lines of

hieroglyphs, reading : —

sa-ef en khet-ef mery-ef ent set-ab-ef drer hesest-ef
Shemsu-em- khau-ef, neb dmakh

" His son of his body, the beloved one of the place of
his heart, doing that which he praises, Shemsu-em-
khau-ef, possessing the reward of worth/'

Tehutihetep' s wife stands before the two
figures, and perhaps gives the signal to pull.
Several lines, destined, no doubt, for the descrip-
tion of the scene, have been left blank. The
signs below, a jackal followed by the hieroglyph
for a pool of wild-fowl, &c, are difficult to inter-
pret ; possibly they give the name of the pool, or
possibly some epithet of the wife ; or they may
describe the action. In front of Tehutihetep
and his son are a crate full of birds, and an
elliptical cage of basket-work above it. The
end of the rope, pulled tight by the prince and
his son, is fastened to a peg in the ground;
the moment represented is when they have just
closed the net. They are advancing towards
the right, whilst their faces are turned towards
the net. The net itself (see pi. xxi.) is laid in
a large pool full of wild-fowl, with blue and
white lotuses dotted over it. The edge of the
pool is conventionally represented by spaces of
vertical green lines (for grass?), alternating
with a small-leafed plant. As to the working

FOWLING AND FISHING.

31

of the net, the rope is formed into a large loop,
round which the edges of the net are bound;
the end of this loop is fastened to a peg in the
water, and the net was no doubt laid open
upon the surface. When the signal was given
that the flock of birds had settled upon it, the
rope was suddenly drawn tight, thus closing
up the loop and drawing the edges of the net
together and enclosing the birds. Among the
birds we recognise the avocet and numerous
species of duck.

The scene below is of the same width as the
last, and represents a net full of large fish,
pulled to land by ten men, eight of whom have
over their shoulders straps fixed to the rope,
while only one man at each end is free to act
independently.

The inscription above reads : —

ser a-ek hesy, mak de nen Sekhet ci-es nefer\t\
Sekhet heb-nes " at em hetep " ne serner pen ur dua
em per Zehuti hes-es mer-es ha Zehutihetep

" Raise thy arm, please ; behold thou the goddess
Sekhet1 has given us her hand; good is Sekhet, she
has captured a "welcome" (i.e. in fish) for this royal
friend, the great of five in the temple of Thoth ;
whom she praises, and whom she loves, the ha-
priuce Tehutihetep."

In the middle of the scene are two short
vertical lines of hieroglyphs, reading : —
dr Sekhti dker de-ek shed-en
"Act, good Sekhti, allow us to pull."

On the left of the scene are two mutilated
lines of hieroglyphs : —

Sekhti de-ek dr-en

" O Sekhti, cause us to do."

A narrower row below shows the operation of
forcing food down the throats of domesticated

1 Sekhti, sekhet, Sekhet. — Sekhti means a person con-
cerned with or living on the sekhet flflfl, i.e., in its primary-
sense, the reedy, marshy land in the Delta, about the
Natron Lakes, etc. The Sekhti caught fish and wild-fowl,
or gathered the reeds and lotuses ; and Sekhet, " the marsh-
goddess " (see also Beni Hasan, Part II., p. 23), was
patroness of these pursuits.

birds. This seems to take place under cover.
A roof-pole is supported by three forked up-
rights, which divide the space into four com-
partments. In the first a man is feeding a
crane, zat, four others of the same species are
waiting their turn, and above them is seen a
vessel of food. In the next three divisions
there are three species of geese called respec-
tively re, [therp], and set.2 In front and above
the feeder is a basket full of pellets, either a
hieroglyph or a representation of the food.

In the next row we see the treatment of the
captured fish and birds. At the left-hand end
the superintendent of the fishers and fowlers
leans on his staff and watches, whilst a man
splits the fish down the back upon a sloping
board, and lays them open to dry in the sun.
The fish are brought to him by a man who has
two baskets hung on a yoke over his shoulders ;
one of these baskets he holds upside down
to turn out the contents. To the right is
a frame formed of a long cross-bar and two
uprights, and upon the former are slung several
trussed geese, a bunch of live avocets, two
wicker cages, and three skins. A man is
kneeling and taking out birds from a small
crate, and two large crates containing live
geese are placed before him. In the bottom
row eight servants are heavily laden with
fruits, lotus flowers, fish, birds (alive and
trussed) and skins (?).

The last subject is continued in the bottom
row of the right-hand side of the wall ; in fact,
all this side is occupied with representations
of bringing the spoil before Tehutihetep. He
himself is figured large, with his favourite
daughter Nub-unut standing before him, wear-
ing bracelets, anklets and collar, besides the

2 In the Ehind Mathematical Papyrus the re, therp, and
zat are all allowed the same amount of corn for fattening,
namely, \ of a heqt (gallon), about a pint and a half a day ;
while the set only receives ^, less than one-third of the
others, and a little less than half a pint. See Proc. S.B.A.,
xvi., number for June.

32

EL BERSHEH.

tight-fitting dress, slung from her shoulders as
usual. Her hair or wig is long, falling to the
breast, and a fillet passes round over the fore-
head, with a lotus in the knot at the back.
Above her are her titles and name : —

sat-ef net Met-ef avert heses[t]-ef ru neb Neb-[unut],

nebt dma kh
" His daughter, of his body, doing what he praises

every day, Nuh-unut, possessing the reward of

worth."

Tehutihetep is in his usual garb. Over his
head are the remains of his titles, and behind
him stand a number of his most faithful
servants. Of these the top figure is quite
destroyed. The second carries a great shield and
battle-axe. The third carries a bow and fan ; he
is named the sahu kef a ah kherp as pen Ab-kau
sa Sep ar en Sep, " servant who conceals (?)
the heart, who superintends [the construction
of] this tomb, Ab-kau's son Sep, born of Sep."
The next holds a short staff and a battle-axe ;
he is the sahu kef a ah Apa sa Nehera, " servant
who conceals (?) the heart, Apa's son Nehera."
The fifth holds two rolls of papyrus, and his
name was perhaps Tehutihetep. The sixth
holds staff and sandals, and the seventh is
almost effaced.

In front of Tehutihetep there is a line of
inscription in large characters : —

maa art ham remu aa urt er Met nebt

" Seeing the making of a large capture of fish, greater
than anything."

Of the bearers of the game, we have in the
top row only one figure remaining, carrying a
large fish ; in the next four rows there are
carriers of fish, &c, and three seated figures
in each.

The name of the first seated figure is sa-ef
Shemsu-em-Mau-ef, " his son Shemsu-em-khau-
ef." The names of the other two are destroyed.
In the third row is sa-ef ne Met-ef Usertsen-
anM, "his son of his body, Usertsen-ankh."
Behind him are the an hen, "scribe of the

box," and the mer a-khenuti, " chamberlain."
In the fourth row is sa-ef ne Met-ef mer-ef
Nehera, " his son of his body, whom he loves,
Nehera," followed by the mer aht, "the super-
intendent of the arable fields," and the shemsu
avert, "attendant of the court." The fifth
row is headed by the mer saht Nefer ar ne
Zehutihetep, "treasurer Nefer, born of Tehuti-
hetep." Behind him is a mer per, " steward,"
and a mer per ne per zet, " steward of the
house of eternity." The sixth and seventh
rows continue the subject of the bottom row,
and end with two lines of hieroglyphs : —

ne ka-ek ami ne sek/iet (?)

" for thy ka, products of the sekhet (?) "

Right-hand Wall, pi. xxiv. for a general view
of the fragments, and pis. xxv.-xxxi. for
the fragments on larger scale (see Key
Plan, u, v).

Of this wall a fragment at the bottom of
the inner end is still in place. The great
panel from which pis. xxv., xxvi., and xxvii.
are taken is still standing at the side of the
tomb, and it has been only slightly shifted
by the earthquake.1

The remainder of the scenes so far as they
now exist are on blocks fallen from the wall
and lying confusedly on the floor. One huge
block, probably with a large fragment of
the painted scene on the under surface, was
too heavy to be turned over. All the rest of
the fragments have been copied and, where
possible, fitted together and shown in their
probable position in pi. xxiv. Amongst them
we recognize clearly a piece of the right-hand
edge of the wall with panelled border (see
pi. xxvii.).

At the inner end must have been a colossal
figure of Tehutihetep, dominating the whole

1 This large fragment was copied on a small scale by Sir
G. Wilkinson. From his copy a good deal of restoration
has been introduced into the small scale plate and pi. xxvi.

SCENES PROM RUINED RIGHT-HA.ND WALL

33

of the scenes : a fragment of the tunic is
visible on a block, pi. xxviii. 3. In front of
this figure must have been the row of large
figures of his wife, mother, daughters, &c.

The general scheme of the wall therefore
consisted of Tehutihetep with his family
watching the occupations of his farmers,
gardeners, artificers, &c. A narrow band at
the base, below the feet of the large figure
and continuing to the outer end of the wall,
shows the household officers of the prince. In
fact, the entire wall was intended to display
the magnificence of Tehutihetep's family and
estate; his sons and daughters, his retainers,
his serfs, and the artificers employed by him.

At the inner end of the wall, in front of
the colossal figure and above those of his
family, were displayed the choice unguents
and precious vases and other products, which
constituted an important part of the treasury
of a luxurious palace.

The subjects were as usual grouped to-
gether on the different rows, but it is difficult
to make such a reconstruction of the fragments
as will be free from all incongruity.

Thus the gardening scene in the fourth row
is followed by the gathering of grapes, and
this correctly enough by a scene of pressing
out the juice in a cloth or bag ; but in the next
row above is undoubtedly recognizable the
treading of the grapes. We can only suppose
that the disposition of the figures of the
attendants on the daughters required a certain
amount of space, and forced the end of the
vintage scene out of the fourth row into the
row above.

The principal divisions of the subjects are
as follows : —

I. Agricultural subjects. — The two top rows
towards the outer end of the wall, and a tiny
compartment on the extreme outer end of the
third row.

II. Potters. — In the next compartment of
the third row. The firing of the pottery,

however, can only be placed at the end of the
vintage scene in the second row.

III. Making bread, &c— In the third row,
next to the potters.

IV. Gardening. — Outer end of fourth row ;
followed by the vintage scene in the same
row, continued in the middle of the third row.

Y. Spinning and weaving. — In the fifth and
sixth rows at the outer end.

Very little can be found of the upper rows
of the inner end. The great block already
mentioned (p. 32) will probably give us im-
portant information in regard to this, if means
can be found to raise it.

There is a fragment of the titles of Tehuti-
hetep in large hieroglyphs (pi. xxviii. 1), which
must have been placed over his head or slightly
in front of him upon this wall ; in fact, there is
no other position for it in the tomb. The same
is the case with fragment No. 2, pi. xxviii., in
which jars of unguents are placed on tables
(as in Beni Hasan, Part I., pi. xiii.). The plan
of the wall does not give room enough for this
to have been placed behind Tehutihetep.

The position of the fragment, pi. xxvii. 1,
is uncertain. The upper row seems to repre-
sent gleaners in a harvest scene, in which case
it should be placed at the left-hand end of
the second and third rows of pi. xxv., but the
second row fits better with pi. xxix. 1.

The figure of Tehutihetep must have occu-
pied nearly the full height of the wall above
the bottom row. The numerous female figures
standing before him, with their names above,
occupy the height of three of the rows of the
outer end. Several female attendants are
ranked in two rows beyond them.

Lastly, in the bottom row of all, at the outer
end, a number of officials are standing facing
to the left ; then, after a wide gap, are seen
the heads of the three sons of Tehutihetep,
facing likewise to the left and probably form-
ing the leading figures of a long row. To
the left of this point the figures face the other

D

34

EL BERSHEH.

way, and represent the attendants of Tehuti-
hetep, continued up to the end of the wall.

I. Agricultural Subjects.
In the top row (pi. xxv.) are rams being
driven over the fields by herdsmen with whips.
The inscriptions name this operation " plough-
ing " ; probably it consisted in trampling seed
into the ground which had been left moist by
the inundation. Similar scenes are common in
the Ancient Kingdom, but this is perhaps the
latest known instance. Between the feet
of the animals are seen weeds. Behind the
herdsmen is a man with a hoe, and behind
these again are two or more ploughs drawn by
oxen (pi. xxxi. 8-12). The use of the hoe was
probably to break up the clods after the plough
had turned them up. Several remnants of the
inscriptions are left, but are too mutilated for
translation, excepting that over the rams, which
perhaps reads : —

kherp rek su meJc su her peru ddebu thes
" Begin thou it, behold it is coming out,1 and the
ground is rising."

In the second row the flax is being pulled
out of the ground and the roots trimmed.
Behind this, bundles of the stems, with red
capsules, are being laid together and tied.2
In the next place a field of barley edged with
weeds is being reaped with sickles. The ears
are cut off short and the stalks left standing.
After an interval we see six asses (pi. xxxi.
1-6) trampling the corn on a threshing-floor, in
place of the more usual oxen. A fragment of
inscription over them is probably part of the
song of the threshers, of which we can read —

hi sep sen hi em W

" Thresh, thresh, thresh again with threshing."

1 I.e., the field is coming out of the water after the inun-
dation.

2 In the XVIIIth Dynasty tomb of Paheri, the seed
capsules are torn off by means of a comb, but this is never
shown in the earlier tombs.

At the end of the third row two men are
uprooting long-bearded corn (pi. xxvii. 4).
The inscription reads : —

uha shem, " pulling up the harvest."

II. Potters.
Beyond these are three potters, seated (pi.
xxv.). The first is moulding tubes with the
hand, the broader end of the tube resting on a
smooth conical stand ; the second is turning a
wheel with his hand while he fashions a pot,
the wheel being pivoted on a cylindrical pillar ;
the third has a table in front of him, upon
which, according to Wilkinson's copy, a vase is
being formed. Beyond are two assistants ; one
of them appears to be taking away a vase, the
other kneading the clay. Over the last are
signs forming the word qed, meaning "to
make pottery." Above are two rows of pots.
For the termination of this scene we have to
look beyond that of the agricultural scene at
the end of the second row (pi. xxvii. 2). Here
are two blazing furnaces, undoubtedly kilns for
firing pots. The kilns are circular ; up to a
certain height the walls are solid, excepting
that an opening is left at the base on one
side; the upper part, however, is built up
higher, with a large opening on one side,
and, in fact, the part that is thus built up is
probably only a screen against the wind.3

III. Making Bread, Sfc.
Beyond the potters in the third row some
figures, chiefly of women, are making bread,
&c. (pi. xxv.). First is a man crouched, with
his hands on a table in front of him ; above is
the inscription art hesa, "making dough."
Next, a woman seated on the ground holds in
her hands an elongated object ; the inscription
above may be read men at, "a roll of wheat-
dough(?)."

3 It is remarkable that the openings are both on one side.

SCENES FROM RUINED RIGHT-HAND WALL.

35

After a gap we see loaves of bread on
mats (pi. xxxi. 7), then a woman mixing or
pounding grain called art dget set at. The
two kinds of aget called set and at are fre-
quently found in lists of offerings. In the
next picture " the white and green sliest "
are being prepared.

IV. Gardening Scene.

In the fourth row are the remains of a
gardening scene. At the right-hand end is a
tree, growing, surrounded by a ring of earth
to retain the water, a stream of which is being
poured upon its roots (pi. xxvii. 9). A gar-
dener is carrying a yoke of water-pots on the
right (pi. xxvii. 10). Beyond is a plot of
ground (pi. xxv.) divided into squares by
channels for irrigation, as is still done in
Egypt. This is all coloured green. Above it
is another green mass, probably intended to
represent the vegetation growing on the plot ;
in this can be distinguished some tall bushes.
A gardener is kneeling, putting in or taking
out a plant ; two others are emptying their
water-jars upon the plot, and two behind them
carry bowls of water. Here is an interesting
example of drawing without perspective : we
have already noted that the vegetation is
placed above the figure of the plot ; we further
see that the feet of the gardeners stand on the
border line between the plot and the vegeta-
tion. According to the Egyptian notions this
is quite logical, for their artists could not
better represent the fact that the feet were
upon the surface of the ground beneath the
vegetation. Above the heads of the figures
are heaps of fruit, &c, on mats and in baskets,
and a row of plants in pots.

Beyond is a trellised vine, and two men
gathering bunches of grapes into baskets.
Some very small chips of painting show leaves
and fruits of the cucumber, but beyond the
scrap of a flower shown in the plate, below the

stand of a vase,1 they do not admit of repro-
duction.

Further on is a group of five men pressing
the juice from the grapes (pi. xxxi. 7) : the
latter have been put into a great straining bag,
which is being energetically twisted by means
of poles put through the looped ends ; four
men twist the poles, while another places him-
self horizontally between them to push them
apart, and so keep the bag at a full stretch.
The tub into which the juice should fall is
broken away. Behind the group are jars, no
doubt full of liquid.2

Another method by which the juice was
extracted from the grapes is shown in the
next row above (pi. xxvii. 2), after the bread-
making scene. A horizontal pole is placed
upon supports over a wine-press, and men
clinging to the pole tread the grapes.

V. Spinning and Weaving.

At the outer end of Rows 5 and 6 are the
scenes of spinning and weaving (pi. xxvi.).
Towards the left-hand end we see a woman
seated on the ground, with a bowl and lump of
fibre before her. Probably she took a handful
of the fibre and laid it in the bowl in front
of her ; when well moistened, she drew it
out in her hands, and softened it by chewing.
After this had been done sufficiently, and
perhaps a loosely compacted twine had been
produced, it was laid in the second bowl to
keep damp, while the standing figure spun it
into a firm thread with her spindle. We
see the seated figure stretching out her two
hands in front of her face, with a thread
between them held in her mouth. The thread
seems to end in the first bowl ; but there is
certainly also a line from one bowl to the
other. From the second bowl the line passes

1 PI. xxvii. 7 ; the fragments referred to are in the British
Museum.

" Cf. Beni Hasan, Part I., pi. xii.

D 2

36

EL BERSHEH.

to the left hand of the standing figure and
thence down to the spindle, which is twisted
on the right thigh. The right leg is bent
with a natural gesture by raising the foot.
One of the spinners stands apparently on a
raised platform.1

The following groups are very similar. At
the right-hand end rope-making seems to be
represented, no doubt with palm- fibre. At the
top are some looped ropes, pegged out, it may
be to dry. A woman, bending over, has a
rope passed round her knees ; the fracture has
carried away the rest of the group, which
probably showed another figure forcibly twist-
ing the rope.2

In the sixth row weaving is represented.
A woman is seated at a horizontal loom, the
working of which is not easy to understand.
Behind her were two women seated, gather-
ing together threads into a baud from a tray
of twelve divisions, each containing a ball (?)
of material. Under the end of the horizontal
loom was a vase, and apparently a conical-
pointed cake. At the extreme right hand is a
fragment of an inscription — seMiet, " weaving."

There are only two fragments of the wall-
painting that can be placed on the inner half
of the wall. The position of one, pi. xxix. 1,
is certain. Men are probably filling orna-
mental jars with condiments, and levelling the
contents.3 The second fragment, pi. xxvii. 1,
shows portions of two rows; the lower one
seems to be the upper portion of the scene last
mentioned, and above are two women carrying
shallow baskets, apparently in a field of corn.
This fragment should perhaps be placed among
the agricultural scenes.

1 As at Beni Hasan (Part II., pis. iv. and xiii.).

2 Cf. Dumichen, ResuMaie, pi. viii. Virey, Tombeau de
Rekhmara, pi. xiii., for scenes of rope-making.

3 With the same action as in Beni Hasan, Part I., pi. xii.
and xxix. (fourth row to the left of doorway).

This closes the series representing the
occupations. The main group on the wall
consists of the spectators, namely, Tehutihetep
with a row of his female relatives, all standing.
Of Tehutihetep himself only the point of the
tunic is visible, and a fragment of his titles at
the top in short columns ending in a horizontal
line. Immediately in front of him is his wife,
"priestess of Hathor, Hathorhetep," holding
a fly-flap in her left hand. The right hand
bangs down the side. She wears a fillet round
her head, tied at the back, with a papyrus
flower at the knot, one long end and one short
falling down behind. Next is a mutilated
figure of a lady, very similar to the last, with
one arm down the side, the other raised to
the breast and apparently holding a fly-flap
(pi. xxviii. 3, 4).

The rest of these figures are somewhat
smaller (pi. xxix. 2). The third has both arms
down the sides; the fourth has the right arm
down the side, the left bent up to the breast,
but the hand open and empty; the fifth has
both arms down the sides.

In the representation of the next three figures
there are notable changes (pi. xxix. 2 and
frontispiece). On their breasts they wear
pectorals, the left arm is raised holding a lotus
flower, the hair is gathered on to the right side
of the head into the lock signifying youth, and
two of them (the seventh and eighth) show a
remarkable chaplet of lotus flowers, the first
white, the second blue; the sixth doubtless
wore a similar chaplet ; and it is most probable
that the ninth, the much mutilated figure
beyond, should be counted in the same group,
since her left arm is raised.

Last of all are two figures with the arms
down. Remains of the ordinary female wig
may still be seen on one of them (pi. xxx).

Thus we appear to have four groups of the
female relations, and it may be said at once
that the inscriptions confirm the evidence of
the pictures. The first two represent the wife

FIGURES OF TEHUTTHETEP'S FAMILY.

37

Hathorhetep, and presumably the mother, Sat-
kheper-ka, of Tehutihetep. Next, the third to
the fifth are adult figures, not easy to identify.
Then follow evidently four daughters (the sixth
to the ninth), and presumably two sisters of
Tehutihetep (the tenth and eleventh).

As to the inscriptions, that above the first
figure may be restored : —

«<=»

c* <=>

n

hemt-ef mert-ef hen neter Het-heru
mert-es nebt per Het-heru-hetep

" His wife whom he loves, the priestess
of Hathor whom she loves, the lady
of the house, Hathor-hetep."

1!

For the fifth and sixth we fortunately have
the inscription on a fragment of sculpture in
the museum of Gizeh, identified as from this
tomb by Mr. Fraser. His copy is as follows : —

1.

2.

5.

^ /wvws.
<0

? n

o

AA/WW

ra

o

o
%

a D

o -o

<* o

(1) Sat-ef net Met-ef mert-ef (2) net set db-ef
drert hesest (3) -ef em khert heru (4) ent ra
neb Neb-Unut (5) dm Met mert-ef drert (6) hesest-
ef em khert heru (7) ent ra neb Zehutihetep

" (1) His daughter of his body, his beloved one (2) of
the place of his heart, who does that which he
praises (3) in that which belongs to the day (4)
of every day (i.e. wins his praise daily), Nub-Unut.
(5) The AnTchet, his beloved one, (6) who wins
his praise (7) daily (as before), Tehutihetep."

The original position of this block is quite
certain. The daughter Nub-Unut is the only

one represented elsewhere in the tomb ; she
was therefore the favourite and the eldest, and
would naturally be put first among the
daughters. The inscription of the Aiikhet-l&dy ,
whatever the meaning of the Egyptian word
may be,1 must therefore be applied to the fifth
figure ; and the third and fourth are doubtless
of similar rank or relationship. Possibly that
group represents the favourite concubines of
Tehutihetep.

The inscriptions above figures Nos. 7 and 8
are partly preserved. They read as follows : —

No. 8. (1) [Sat-ef net Met-ef] mert-ef (2) net set
db-ef drert hesest- (3) ef ra neb Sat-hez-hetep

No. 7. (4) Sat-ef net Met-ef mert-ef (5) net set
db-ef drert hesest- (6) ef ra neb Sat-kheper-ka

No. 8. (1) his daughter of his body, his beloved one

of the place of his heart, who wins his praise every

day, Sat-hez-hetep.
No. 7. (4) his daughter of his body, his beloved one

of the place of his heart, who wins his praise every

day, Sat-kheper-ka.

For the last two figures we have a fragment
of an inscription over No. 11. The fragment,
pi. xxx. 1, almost certainly belongs here,

n AAAAAA

although the 11 [<=>] is written in the opposite

direction to the mer-ef (sic) below. Probably

the inscription should be read sew[£] ef mert

ef, "his (i.e. Tehutihetep's) sister who

loves him."

Beyond these groups there are female atten-
dants, facing them, in two rows. In the upper
row is a woman holding a revolving fan.2 The
action of her left arm is uncertain ; probably
she assists in upholding the box which is over
her shoulder. This must also be supported by
the next figure, who holds down in her right
hand a boomerang-shaped instrument, which
probably must be interpreted as a pair of cas-
tanets. The first of these figures seems to be

1 See above, p. 8.

2 Of. Beni Hasan, Part I., pi. xii., behind the harpers on
the left of the false door.

38

EL BERSHEH.

the Athy l Sat-hez-hetep. Of the second figure

only a fragment of the name remains, A

Two other figures are shown in the lower
row. One bears a fly-flap, the feathers of
which are coloured blue, and a mirror in its
case; she seems to be the mendt, "nurse."
The second carries an instrument terminating
in a long staff. Whether or no there were
more figures behind these groups, it is impos-
sible to say.

In the bottom row we note that the figures
at the inner end face down the tomb, and all
of these represent personal attendants on
Tehutihetep. Beyond the middle the figures
face the other way, and consist of Tehuti-
hetep's sons and the officers of his estates;
the female members of the family and their
attendants having been represented above.

First there are the three sons of Tehuti-
hetep— Shemsu - em - khau - ef, Usertsen - ankh,
and Nehera. Then there is a great lacuna,
representing space for ten or twelve figures.
Twelve figures follow, and there is a space for
two more at the end, so there must have been
twenty-five figures in all behind the sons.

The inscription belonging to the first is
lost; that in front of the second is enti em
sert (?), " He who is in the position of a ser or
magistrate."

The third is the mer aht, " superintendent of
the fields."

The fourth, the mer sdht Sep sa Zehutihetep
ar en Uaz-Mu-es, " superintendent of the trea-
sury, Sep's son Tehutihetep, born of Uaz-
kau-es."

The fifth, the mer Menti Nekht ar en Nehht,
" superintendent of the bakers, Nekht, born of
Nekht."

The sixth is the mer shent Nekht ar en Henu,

1 This title, Athy, is probably the same as atu, which
occurs in the inscriptions of Una and in tablets of the
Middle Kingdom, applied to male attendants of the king
and prince, and probably meaning a bearer of a sedan chair.

"superintendent of the , Nekht, born

of Henu."

The seventh, the mer khent , " super-
intendent of the

The eighth, the mer 'per en hesept Sep sa
Nehera, "steward of the nome, Sep's son
Nehera."

The ninth, the [mer] per en hesept Aha sa
Aha, " steward of the nome, Aha's son Aha."

The tenth, the mer lean Shedes sa Sep,
" superintendent of the oxen, Shedes' son

Sep."

The eleventh is the mer did Aha-nekht,
" superintendent of the goats, Aha-nekht."

The inscription over the heads of these
officers reads : —

[maa dn dnu-sen ne tenu renpet] hena dnu-sen ne
Mert heru net ra neb dp ne seten ne set zet d[n
ha Merp nesti sab-]ad-mer mer qemhu dri pe neb

[Zehutihetep neb dmakh\

" [Seeing- the bringing of their offerings of each year],
together with the offerings of each day, counted to
the king for ever and ever by [the /;a-prince, the
regulator of the two thrones, the sab-] ad-mer, the
superintendent of the South, he who belongs to

every town [Tehutihetep, possessing the

reward of worth]."

At the left-hand end is a man bearing a
staff, a sheaf of arrows, and a long bow.
Behind him four men carry the sedan-chair,
beneath which runs the little hound named
Ankhu. Next is the sdhu Jcefa ab, named
Nefera ar en Zehutihetep, " Nefera, born of
Tehutihetep." He carries a long staff, and
some object suggesting a seal or branding
instrument. The next man bears a box, and
behind him another carries a huge shield and
battle-axe. Then a man with a long tunic
and cape over his shoulders carries another
battle-axe of a different form. He is the
sdhu kef a ab, Nekht-nekhen mes en Apa, "Nekht-
nekhen, born of Apa." Behind him are two
other sahu kefa ab. The first, named Khnema
mes en Zehutihetep, " Khnema, born of Tehuti-
hetep," carries a long staff and sandals. The

SCENES AND INSCRIPTIONS OF THE SHRINE.

39

second is named Nekhta, and carries a spear
and a bow.

There is another gap here, sufficient for five
or six figures. Then come three attendants with
long tunics, and at the inner end of the wall
is a scribe carrying two rolls of papyrus. He is
the an hen kherp Jcatu nebt, " scribe of the
box, superintendent of all the works," and is
named " Nekhta's son Sepa, born of Sepa."

6. SHRINE. Pi, XXXII.-XXXIV.

Inner Wall, pi. xxxiii. (Key Plan, x).

The paintings and inscriptions upon this wall
are incised and delicately coloured. On the left
is represented Tehutihetep standing, clothed
with a small skirt and wearing sandals. He
holds in his right hand the v baton of office,
and in his left hand a staff. Hanging from
his neck is a collar, attached to which is an
elaborate pectoral (mutilated).

Above him is an inscription in eight lines
(six vertical and two horizontal), reading : —

zed-ef medu kher te-ef ren per-nef khent ef

en uru dau hesut-d dpten kher tef-d kher neter-d
det-ef sa em her en net ef her tep da en Vnt
em seti ! en utet su ti (?) pu en tef-[d] pen (?) erde-
nef u[d~\ em her net-ef hd kherp nesti ur dua
her tep da en Unt Kay sa Zehutihetep

" He speaks before his father name of

him from whom he came, are not very great these
my praises before my father and before my god,
that he should place a son as the chief of his town
(and) Great Chief of the Hare nome, as the suc-
cessor of him who begat him, the son of the old
age of this my father, he placed me as chief of his
city, the /Sa-prince, regulator of the two thrones,
great of five/ Great Chief of the Hare nome, Kay's
son Tehutihetep."

1 rl jl masc. substantive derived from rl , meaning a person
holding a place. The inscription is difficult to translate.

2 It will be recollected that these two titles are those of
the high priest of Thoth in the Hare nome.

On the right is represented a standing figure
of Tehutihetep's father Kay, clothed with an
elaborate pointed skirt, and wearing sandals.
In his right hand he holds a staff, and in his
left a leathern thong (?). A pectoral in the
shape of a panther's head, with two loops
above and a tassel below, is suspended from
his neck by a long variegated band. Above
him is the inscription reading as follows : —

zed medu rekht ankhu hd enti menk/i dm

maa-d nen dr-en nd neb-d ds-d nen dr-ennd neter-d
erdet-ef sa-d em her net-ef her tep da en TJnt
em seti 3 en dr ud ha Ma Usertsen mer henu
neter Neherd sa Kay

" Speech : O living mortals ! rejoice who is

excellent amongst them. When I see these things
which my lord has done for me, and when I reckon
those things which my god has done for me, in
that he placed my son as chief of his city and
Great Chief of the Hare nome, as successor of him
who made me (the) Aa-prince of the kha pyramid-
city of Usertsen I. (?), superintendent of the priests,
Nehera's son Kay."

Left and Right-hand Walls, pis. xxxii., xxxiv.
(Key Plan, w, y).

The scenes and inscriptions on the two sides
of the shrine are almost identical ; both are
considerably mutilated, but the one helps to
complete the other, and we shall therefore treat
them together. It will be observed that the
right half of the inner wall is devoted to Kay,
and the left to Tehutihetep. It seems to be
the same with the side walls. The right-hand
wall bears what is probably a figure of Kay,
identifiable by the fragment of the title
mentioning the pyramid-city of Usertsen. On
the left-hand wall there can be no question
that Tehutihetep is represented, though his
name and titles are destroyed.

On each wall the principal personage is seated
with an altar before him and lists of offerings
above. The figures are arranged in five rows.

3 Vide note supra.

40

EL BERSHEH.

Tbe two top rows were devoted to repre-
sentations of the ceremonies, which may be
compared with those in the tomb of Amenemhat
at Beni Hasan.1

Row 1 is divided into two compartments.
In the first we can trace the sem-priest, and
behind him a lector named Heru-amen-ankh.(?)
In the next compartment are three kherheb
priests, kneeling, and above them the inscrip-
tion : se-aM an Mer-heb asha, "singing services
by the ordinary lectors." At the end is another
priest, standing, and above him the inscription :
zed medn ant red an Mer heb, " speech : lifting
the foot by the lector."

Row 2 is divided into five compartments : —
1st. A man kneeling, washing a table.
2nd. Det qebeh, " giving water."
3rd. Seth, " washing" the tray.
4th. Se-neter, " incense," and fire.
5th. Zed medu icher heb, "reading by the
lector."
Rows 3 and 4. Cutting up oxen and bringing
offerings. In the third row of the right-hand
wall there is a good example of pedet des,
"sharpening the flint knife." In the fourth
row of the same wall, over the ox, is de-na afui

1 Vide Beni Hasan, Part I., pi. xvii., cp. also pi. xxxv.

ne hat, " give me two pieces of flesh first," to
which the man replies : ary-a hest-ek, " I am
doing as you will." In the corresponding
row of the left-hand wall are two inscriptions :

(1) maa en ka-ef, "offering to his ka" and

(2) de nenshem, " give a nenshem joint."

Row 5. Servants bringing offerings of flesh,
fowl, fruits, &c. The inscriptions over these
rows on the two walls are mutilated, but, as
they are identical, we can restore the text from
the two copies.

sekhept sethept er hat nzhn dnent em nut-ef em
heseput-ef enl qemau meh en Tea en er-pa ha semer
uati en mend est db seten ha, Merp nesti ur det
Kay sa Zehutihetep neb dmaM

''Bringing to the altar choice viands, which are
brought from his towns and his estates of the
South and North to the Tea of the e^rt-prince, the
/ia-prince, the beloved confidential friend, the ha-
prince, regulator of the two thrones, great of five,
Kay's son Tehutihetep, possessing the reward of
worth."

On the left-hand wall we have also three
smaller inscriptions : —

(1) maa ne ka-ef, " offering to his ha."

(2) uab [ne Jca ne] hct Merp nesti Zehutihetep, "pure
offerings [for the Tea of] the Aa-prince, regulator of
the two thrones, Tehutihetep."

(3) maa ne Tcaa-ef, " offering to his has" (plural).

INDEX.

Ab-kau, father of Sep, " director of the work " of the

tomb, 3, 17.
Abu Simbel, temple of, first excavations at, 3.
Addaxes, hunting of, 14.
Agricultural scenes, 33, 34, 36.
Aha, son of Aha, steward of the nome, 38.
Aha-nekht, superintendent of goat?, 38.
Alabaster quarries, 23, 25.
Ameua-ankku, decorator of the tomb, 3, 20.
Amenemhat II., 6, 12.
Ankhet (?), title of, 8, 37.
Anlch-en-net, title of, 8, 37.
Ankhu, hound, 38.
Antelope, shooting of the, 14.
Antinoe, city of, its site, 1.
Apa, father of Nehera, an attendant, 32.
Apa, mother of Nekht-nekhen, 38.
Architect of the tomb, 3, 17.
Architectural features, 9.
Architrave, description of, 12.

Arundale, F., his drawing of the colossus scene, &c, 4, 22.
Asyut, tomb of Hepzefa at, 24.
Athy, title of, 38.
Avocets, capture of, 26, 31.

Bankes, W. J., opens temple at Abu Simbel, 3 ; visits El

Kab, 3 ; discovery of tomb of Tehutihetep, 3 ; his

drawing of the colossus scene, 5.
Beechey, H. W., opens temple at Abu Simbel, 3 ; visits

El Kab, 3 ; discovery of tomb of Tehutihetep, 3.
Belzoni, G. B., opens temple at Abu Simbel, 3 ; visits El

Kab, 3.
Beni Hasan, tombs of, scenes, 2, 25, 28, 29, 33, 36, 37, 40.
Birds, capture of, 26, 30; feeding of, 31.
Blackden, M. W., graffiti at Het-nub described, 6.
Boats and boating scenes, 14, 27, 29.
Bonomi, J., his drawings of colossus scene, &c, 4, 18, 22.
Bread-making, scene of, 33, 34.

Brine, Mr., assists in discovery of tomb of Tehutihetep, 3.
Brown, Major R. H., photographs colossus scene, 5, 18.

Brugsch, H., his translation of colossus scene 18.
Bubales, hunting of, 14.
Buto, 6, 12.

Capitals, palm-leaf, 9.

Cartouches, 12.

Cattle, stock-taking of, 26-29.

Ceilings, decoration of, 11.

Ceremonial of purification, scene of, 15.

Chabas, F., his translation of colossus scene, 18.

Children of Tehutihetep, 8.

Clap-nets, 26, 30.

Colossus on sledge, its position in tomb, 2 ; described by

Rosellini, and drawn by Ricci, Bonomi and Arundale,

4 ; scene of its transport, 17-22 ; description of, 19 ;

temple for reception, 22 ; sacrifices to, 22 ; its size,

construction, transport, &c, 23-26.
Cranes, feeding of, 31.

Dado, colour of, 11.

Daughters of Tehutihetep, 8.

Decoration, system of, 10-11.

Decorator of the tomb, 3, 20.

Dep, city of, 13.

Der en Nakhleh, convent of, 1, 2, 3.

Dresses of royal personages, priests, warriors, &c, 13, 15,

17, 19, 20, 21, 22, 28, 32, 36, 39.
Ducks, capture of, 31.

Eirund, one of Lepsius's draughtsmen at El Bersheh, 5, note.

El Bersheh, tombs of, situation, 1, 4 ; discovery of, 3.

El Kab visited, 3.

Erman, Ad., translates colossus scene, 18.

Eshnrunen, mounds of, 1.

Facade of tomb, description of, 12.

Family of Tehutihetep, 6.

Fan, revolving, 37.

Fish, capture of, 26, 30, 31.

Fishing, mode of, 31.

42

INDEX.

Fishing scene, 15.

Fowling, mode of, 30, 31.

Fowling scenes, 14.

Fraser, G.W., graffiti at Hetnub, 6; inscription at museum

of G-izeh, 37.
Furniture, ivory and ebony, 27, note, 30.

Gardening scene, 7, 33, 35.

Gazelles, netting of, 13.

Geese, species of, 31.

Genealogical table of family of Tehutibetep, 8.

Hare, hunting of tbe, 14.

Hare nome, 1, 23, 39.

Hathorhetep, wife of Tehutihetep, 8, 26, 36, 37.

Hay, Robert, 4, 5, 17, 18.

Hepzefa, tomb of, at Asyut, 24.

Herds, stock-taking of, 26-29.

Herdsmen, 28.

Hermopolis nome, 1 .

Hermopolis, cbief priest at, 13.

Henu, father of Nekht, superintendent, 38.

Heru-amen-ankh, lector, 40.

Hetnub, quarries of, graffiti there, 6; the colossus brought

from, 18, 19, 23.
Hunting scenes, 13, 14.

Ibex, shooting of the, 14.

Inner chamber, 9 ; description of, 15.

Irby, Lieut. C. L., discovery of tomb of Tehutihetep, 3.

Jackal, hunting of the, 14, 30.
Jerboa, shooting of the, 14.

Kahun, discoveries at, 7, note.

Ifa-statues, 24, 25.

Ka-y, father of Tehutihetep, 3, 7, 13, 15, 28, 30, 40;

figure of, in shrine, 39.
.KTia-pyramid of Usertsen, 7, 39.
Kheker ornament, 11.

Khemenu (Hermopolis), city of, its situation, 1.
Khent-hesert (Thoth), 16.
Khnema, son of Tehutihetep, 38.

Leopard, hunting of the, 14.

Lepsius, C. R., visits El Bersheh, 5 ; colossus scene, &c,

copied under his direction, 18, 22.
Lion, hunting of the, 14.

Maat, goddess, 13.

Mangles, Capt. S., discovery of tomb of Tehutihetep, 3.

Maspero, G., his translation of the colossus scene, 18.
Mehti (?), god, 21.
Mehti-em-hat, lector, 16.

Natron, 16.

Nefer, the treasurer, 32.

Nefera, son of Tehutihetep, 38.

Neferyt, the scribe, 28.

Nehera, grandfather of Tehutihetep, 7, 8.

Nehera, son of Tehutihetep, 4, note, 8 ; hunting, 14 ; scene

of purification, 16; transport of colossus, 17; fishing

scene, 32 ; agricultural scenes, 38.
Nehera, son of Apa, 32.
Nehera, son of Sep, steward, 20, 38.
Nekhen, city of, 13, 23.
Nekht, son of Henu, superintendent, 38.
Nekht, son of Nekht, superintendent of bakers, 38.
Nekht-ankh, father of Sep, "contractor of tomb," 16, 20, 32.
Nekht-nekhen, son of Apa, 38.

Nekhta, father of Sepa, superintendent of works, 39.
Nestor de l'Hote, describes tomb of Tehutihetep, 4, 5, 16,

17, 18.
Netting fowl, 26, 30.

Nubunut, daughter of Tehutihetep, 8, 31, 32, 37.
Nurse, 38.

Offerings, scene of, 39, 40.

Officers, 28, 31, 38.

Oryxes, capture of, 14.

Ostriches, driving of, 14.

Outer chamber, 9; description of, 13.

Oxen, wild, 14.

Oxen, sacrifice of, 40; stock-taking, 26-29.

Painting, style of, in tomb, 11.

Petrie, Prof. Flinders, his discoveries at Kahun, 7, note ;

plan of quarries near Tell el Amarna, 23.
Porcupine, 14.

Portico, 9; description of, 12.
Potters at work, scene, 33, 34.
Ptahshepses, tomb of, statues of, 25.
Purification, scene of, 14-16.

Quarries, alabaster, 23, 25.

Rams trampling in grain, 34.

Raramun, village of, 2, 3, 4.

Rashepses, tomb of, its colossi, 25.

Ricci, Dr., copies the colossus scene, 4, 19.

Rope-making, scene of, 36.

Rosellini, Ip., describes colossus scene, 4.

INDEX.

43

Sacrificial scenes, 40.

Sakkara, tombs of Ptahshepses and Rashepses at, 25.

Sat-kez-hetep, motber of Tekutinekkt, " maker of tke
tomb/' 16.

Sat-bez-hetep, daughter of Tehutibetep, 8, 37.

Sat-bez-hetep, the fan-bearer, 38.

Sat-kheper-ka, mother of Tehutihetep, 7, 8, 13, 15, 27, 28, 37.

Sat-kheper-ka, daughter of Tehutihetep, 8, 37.

Sebek-a-na, the «a&-priest, 16.

Sedan-chair, 17 ; its construction, 30; bearers of, 38, note,

Seh (summer bouse), 26 ; form of, 27, note.

Sekhet, goddess, 31.

Sekhti, i.e. fishermen, 31.

Sep, father of Tehutihetep, superintendent of treasury, 38.

Sep, father of Nehera, steward of the nome, 38.

Sep, son of Ab-kau, " director of the work" of the tomb,
3, 17.

Sep, sou of Shades, superintendent of oxen, 38.

Sepa, son of Nekhta, superintendent of the works, agricul-
tural scene, 39.

Sepa, son of Nekht-ankh, "constructor of the tomb," 16,
20, 32.

Shades, father of Sep, superintendent of oxen, 38.

Shaft for mummy, 9.

Shemsu-em-khau-ef, son of Tehutihetep, 8; hunting, 14;
scene of purification, 16 ; transport of colossus, 17 ;
fowling, 30 ; fishing, 32 ; agricultural scenes, &c, 38.

Ships, 29.

Shrine, 9 ; description of, 39 ; ceremonial scenes in, 40.

Sons of Tehutihetep, 8.

Spinning and weaving, scenes of, 33, 35, 36.

Stags, 14.

Statues in tombs, 24, 25.

Stock-taking of herds, scene of, 26-29.

Tehutihetep, bis titles, 1, 6, 7, 12, 13, 15, 16, 17, 22, 32,
33 ; " son of Kay," 3 ; chronology, 6 ; genealogy, 8 ;
hunting, 13; fowling, 14; fishing, 15; ceremony of

purification, 15; transport of colossus, 17; statue of,
in temple for colossus, 22; stock-taking of herds,
26-29; superintending agricultural, &c, labours, 33;
capture of birds and fish, 26, 30 ; figures of, in shrine,
39.

Tehutihetep, family of, 6-8 ; its genealogy, 8 ; figures of,
37, 38.

Tehutihetep, tomb of, general description, 1, 2, 9; approach,
2 ; date and discovery, 3 ; destruction, 5 ; scenes and
inscriptions, 9-40 ; architectural features, 9 ; present
state, 10; decorations, 10, 11 ; cartouches in, 12.

Tehutibetep, son of Sep, superintendent of treasury, 38.

Tehutinekht, son of Sat-bez-hetep, "maker of the tomb," 16.

Tell-el-Amarna, quarries near, 23.

Tbereta, town of, 21.

Thoth, titles of the high priest of, 7, 13.

Titles of Tehutihetep, 6, 7, 12, 13, 15, 16, 17, 22, 32, 33.

Transport of the colossus, how effected, 23, 24; various
scenes of, 25.

TJaz-kau-es, mother of Tehutihetep, " superintendent of

treasury," 38.
Usertsen II., 6, 12.

TJsertsen II. (?), Ma-pyramid of, 7, 39.
Usertsen III., 6, 12.
Usertsen-ankb, son of Tehutibetep, 4, note, 8; hunting, 14;

scene of purification, 16; transport of colossus, 17;

fishing scene, 32 ; agricultural scene, 38.

Weaving and spinning, scene of, 33, 35, 36.

Weidenbach, E., one of Lepsius's draughtsmen at El

Bersheb, 5, note ; his copy of the colossus, 19.
Westcar Papyrus, 30.
Wilkinson, Sir Gardner, bis records of tomb of Tehutihetep,

4, 5, 32 ; colossus scene, 5.
Wine-press, 35.
Wrestling and fighting scene, 14.

Zamu (troops), 18, note.

PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. JOHN'S HOUSE, CLERKBNWELL ROAD, E.C.

LIST OF PLATES

(WITH REFERENCES TO THE PAGES ON WHICH THET ARE DESCRIBED).

PLATE

I. Frontispiece. Portrait of a daughter of

Tehutihetep [M.W.B.1] .
II. Plan, sections, and elevation [G.W.F.] .
ill. Details of doorways [G.W.F.]
iv. Details of column (restored) [G.W.F. &

M.W.B.]

v. Inscriptions on jambs and architraves

(restored) [P.E.N.].
vi. Ceiling inscriptions [P.E.N.] .

Outer Chamber.

vii. Right-hand wall [H.C.] ....
vili, Inner wall (right side) [H.C.]
ix. Inner wall (left side) [H.C.] .

Inner Chamber

x. Outer wail (right side) [H.C.]
xi. Outer wall (left side) [H.C] .

PAGE
11

9-10
9-10

9-10

12-13
13

13-14

14-15

15

15
16

Inner Chamber (continued),
xn. Left-hand wall (entire) [H.C.]
xiii.-xvi. Left-hand wall (upper rows) [H.C
& P.E.N.] ....
xvii.-xix. Left-hand wall (lower rows) [H.C]
xx. Inner wall (entire) [H.C]
xxi. Inner wall : The pool of wild fowl

[H.C]

xxii.-xxiii. Inner wall (lower rows) [H.C]

xxiv. Right-hand wall (entire) [H.C. &

P.E.N.]

xxv.-xxxi. Right-hand wall, Fragments [H.C
&P.E.N.] .

Shrine.

xxxii. Left-hand wall [H.C] .
xxxiii. Inner wall [H.C]
xxxiv. Right-hand wall [H.C]

16-32

17-26
26-30
30-32

30
31-32

32-39
32-39

39-40

39

39-40

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Plate XXVIII.

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INNER CHAMBER.

RIGHT HAND WALL. (FRAGMENTS).

El Bersheh.

Tomb I

INNER CHAMBER.

RIGHT HAND WALL. (FRAGMENTS).

Scale 1 : 5

Plate XXIX.

El Bersheh.

Tomb No. 2.

Plate XXX

Scale 1:5.

INNER CHAMBER.

RIGHT HAND WALL. (FRAGMENTS).

El Bersheh.

Tomb No. 2.

Plate XXXI.

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Scale 1 : 5.

INNER CHAMBER.

RIGHT HAND WALL. (FRAGMENTS).

El Bersheh.

Tomb No. 2.

Plate XXXII.

Scale 1 : 5.

SHRINE.

LEFT HAND WALL.

El Bersheh.

Tomb No. 2.

Plate XXXIII.

Scale 1 : 10.

SHRINE.

INNER WALL.

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Plate XXXIV.

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BINDING SECT. JUL 2'

/

DT Egypt Exploration Society.

57 Archaeological Survey of

E326 Egypt ^

no. 3 Memoir <*'

^ .f. it

(krr\ ■

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